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Estudio de Fernando Sor para guitarra

Este documento presenta la partitura musical de un Estudio en Si menor para guitarra compuesto por Fernando Sor. La partitura contiene las notas musicales escritas en notación estándar para guitarra a lo largo de 45 compases. El estudio emplea varias técnicas musicales como escalas, arpegios y motivos melódicos repetitivos.

Cargado por

Hernan Escudero
Derechos de autor
© © All Rights Reserved
Nos tomamos en serio los derechos de los contenidos. Si sospechas que se trata de tu contenido, reclámalo aquí.
Formatos disponibles
Descarga como PDF, TXT o lee en línea desde Scribd
0% encontró este documento útil (0 votos)
182 vistas14 páginas

Estudio de Fernando Sor para guitarra

Este documento presenta la partitura musical de un Estudio en Si menor para guitarra compuesto por Fernando Sor. La partitura contiene las notas musicales escritas en notación estándar para guitarra a lo largo de 45 compases. El estudio emplea varias técnicas musicales como escalas, arpegios y motivos melódicos repetitivos.

Cargado por

Hernan Escudero
Derechos de autor
© © All Rights Reserved
Nos tomamos en serio los derechos de los contenidos. Si sospechas que se trata de tu contenido, reclámalo aquí.
Formatos disponibles
Descarga como PDF, TXT o lee en línea desde Scribd

Estudio en Si menor

(Op. 60, nº 20)


Fernando Sor


i m i m a m a

   2 2  1  2 1 2 2  1  2 1 4    1 
i m a i m a i i m i m i m a m i

  
   3         43  2       3
1


1

  
2 2 2 0
0


3
p
p

Fine

 
i m i

2 1  2 1 
i m m i


    
      
 2    3  4   
5

 
2 2
1 1

 3  3  p 1 
0

1
2 2 1 2 2 2
0


3


m i i m i m i
1 
m i m i m m m i

 2  1 3       4 23         2  4  2  3   4  2  3    2   
9


p p p p p
 p p p


p p p p p p
p p

i m i m m

  2   1   1 2  
m i m i m i m i m m i

4 2   
       
13

   3    3      2  3   
1 1


2

p p p p p p p p p p p p p p

m i m i m i m i m i

  4       42      4  2   3  2  
m i m i m i
17
   3 
    
 p p p
2 2

p
 1

p
p p  p p1 p  p p p1

p

i i i i


m m m m

       
m i m i m i m i

   
   1 2  1 2 3 2 1     1 2  1  2 3  2 1   
21


p p p p p p p p p p p p p p
p p

[Link]
2


m i m i m i m i m i m i m i m i

   3     3 21          3     3 21      
25


2 2

 
p p p p p p p p
p p p p
p p p p

p i m i
29
    1 3   1    2    4    1    1 3    2    
 3
  

4  4 1  p 
p mp i

         1  4
    2 
3  
33

  1  1 1
2 
1 2 2 3

4  3  4     4 
p m p i p m i m

  3  2  1  4  
p m p i

3 1    2    1  2     2  
37


   1       
2  1
      
41

    4 1    3   3
   

2 1 2
3
 

i p a m i m

         2 1    2 1
m i m i i a m m i m m

        2  1    
45 i m i

  3     

2 2 2
3 3


p p p p p p p p p p D.C. al Fine
3

Estudio en Sol mayor


(Op. 60, nº 19)
Fernando Sor

    1  3   4   3
  3  4   4  
a a a

  1 
                  
i m i m

  1   1 
3  2
3 


3

 
a m i

 3   4      
4 2

1. m m a

   
a i 2.

 1  2 4            
6 m

      2          1  3   1  
4 3 i 4 i

 
2 1 3

1
  2    3 1 1 

 4   
Fine m

 1   5   1    12     21   1  21   43   12  
11 i

  
3        2    
1 2 4 0

p p

 13    4 1   
        1          21  
17

 2      


4

     3 4   4     1   2      
1
4

 1    1     4  1  1   43  1    1 
D.C. al Fine

2
 
 2  2       2 2  2   2       3        
     
23

   
2 1

[Link]
4

Estudio en Re menor
(Op. 60, nº 24)
Fernando Sor
Allegro moderato a

 4     
i mi i m i

    2              
i m i


       2 3 
4 1 1

  3 2  
4

p p 

p 2

  1  1  4    
m i m

     2     14          12  4  

5

 1  
4 1

 2  
3

  
4

    
2
p

         
                    
9

      


Fine

       

         21   1        
  3 2  3 
13

 
1

2  
4

   

 
5º Posición

1 
5º Posición

    3         
         2  3   2  0        
17 4
0


1
2

     
  5º Posición
  3  3  
5º Posición

1    
5º Posición i m i p imi

4 2
2      3    
p 4

            2 
21

 
1


1 1 1
0

     2
3
  
 D.C. al Fine

3     4   
    2                  

25

1 
4

   
1       
  metal.

[Link]
5

Estudio en Sol mayor


(Op. 35, nº 4)
Fernando Sor

 i 1
m i m

  4  
i


m

    2 1    3     3   4  1   4  1  2  3   4  2   2  
i m a m i m
m
2

  p  1 p    p
p
 p

i m i a m i
 
i

  
m m

  4    2   2   1 2 1  2   4   2  4    1    3     3
6 m i p p m i
p

3     2  p  1 p 
p
p

m i

 4  2   4  1   4  1   i 1
m i m i m i

 
m m i a

2 4
a


m

    1  1
11

  3  2 1
 4     3
  1
  
1 4

 p
2
2 2 4
3
5

 1   4 
m a i i a i

    
m

      3    3  2 i 
16 m i p i

3  
p

    
2 
1 
     
1 3

3  2   3 
1

 
2 2

 p

   2   3 2 2    4  2 2   
     2     
21

 2
4

 2      4    
     
4 3 1

 3
 

1

 

         
  1   3   3   4      4   1 

26

 
4

    2  2  
1 1

  


i

  3   3 4 
m a i a

 1 2 1  1 1  
i m a m
 1 
   
    2  2      3 1    21     1 2
31 4

2
  
          
4

3  
3
3
3

rit.
[Link]
6

Estudio en Mi menor
(Op. 44, nº 18)
Fernando Sor
Andantino

    4  4  4  
 3 1        4 
a m a a a

  2     3 2   3   2    3
i

 
4

 2 2
2    
3
3 2


p 1 1
1 1 1

   1   3   4  4  1  3 1  1 
C. II ........
 
2 4

 2     2  
6

     2
4 3 4

 2
 1  3  2 2  2
2

5 
           1  4  3
 1      
11

 2
4


4 4

 
4

2 2 2
   
 1
  2  1  2
3 3 0

3
 2
1 2 2
3 2   3

 4       
       4 3   3 
i m


16

2
         

  
  
2  

2 2
1 1

   4      4   
  1 
C. II ........

 21 
5

 
4 4

 1 2  
2 2
1  3     
2    
2 3
1
2

 
  1 2    4    4  
a

 13     
m i

  2    3    
10

1  3 
3 4

2
4

3  2 
3  3   

2 2
1 3


2 2
p p

  
           
15

       
      

       4   4
   4 
m i C. II ........

3  3 
19

    3    
 
4

  2 1  2  
2 2 3
 rit.  1
2  
3 2
1 3

p p

[Link]
7
Estudio en La mayor
(Op. 35, nº 9)
Fernando Sor
Andante

    2 3   1    1 2 1 2
p i a i

 1 
p i m i 1/2 C. II ...... p i a m

          4 2 3 
   
2

3 1  4  
1 1

 2 


2 [Link] .............

  3  
      3    2  
5

   
2 2

1
4 4


3

  
1 2 2 3

   
1
1 3
1 4
4


5

4
  2 
1/2 C. II ......

  
                 3 1     
9 4


1

 1 

    3         1  2   3   2 1   3 4  p  
13
ma i m


2 1 2 1 4 2

   2

1

  1 3 
4   3 
    2 3 4     2 1  
17

         2
2
4

   

   
                   
21

   
   

  
        3 
 1     1  
25

 
4 1 3 4 4

  
3

     1

2 2 2 2 2 2 3


4 4
1


cresc.

[Link]
8


[Link] ............. a
        
 
29

        3   3       1   2 


4 m i m
2
1 1 1 3
2

rit.

a tempo

 
                    
33 3 4

  
  

 1 
2
1 
3  
3 

 1   1 
37

 2     1       2   
2

  
2 2 4

 
1

 
3


[Link] .............

  
i

a m p m p i

      1  4 4 3
4

1  
41

       
4

  
2

   2
3

 2
2 1 1 1


3
4

  
       2  2 3 4   
45

  1 4
    4 1
3

 1   
3 1 1 3 2

 
rit.
9

Estudio en Re mayor
(Op. 44, nº 18)
Fernando Sor

Marche m

  1    2 
m m a m
  2 1
i


m m

 2 2  
m

1
m i arm. 7

   1   3  
1 arm. 7

  2
1

 
2

    
3 3

 3


4 3
4

         4    
 3
arm. 7

 3
 4 5 
5

       2
4 4 1

    
1 2

4
3 
arm. 7 arm 12

9
   31    4   3 1  
1
2
 13  31  21      
    
1 1 4

      
3 2

  
1
1

 arm.5 arm.4 arm.3



5

     4  1  2   
2

   
4 3
13

1    
1

  3
1 1 4


3

   
3 2

 arm. 7   
1
1

 arm.5 arm.4 arm.3


5 
  3     13 
arm.5

3       
17

    
4

      2 
2 2
1


1 1


3
2

4  
  02  2     
1
     2    


4


21

 
1

2  
1

  
3 1 1

 
2 1

   3 
rit.

[Link]
10

Estudio en Do mayor
(Op. 31, nº 17)
Fernando Sor

 1 
m i

 1 4 4 
m i
1 1
m

 
  2      2   3         2            4  3  
i p i

2 2
3
3 3


p

m i m 

m i a

 
m i a
   
m

 2         3       3  2     3   3  
5

 2  
i p i m

3 3 
1 1 4 1 4 1

 

2
p 2

1
a a a a m p p i

   
m


i

4
m m m m i m

 3     2          2   34     21    4      3 1  
1 
9

2 3 3 2 

m m m

1
a

 1 i  i 4   1   4   2  1 4
m m

4
i

1    
13
p

  3    2          2      
i i

2  3 3 3 2

 1       1   
  3        2           43    

17

   2      
2 4 4 2

3 1  3 1 

 
a
a
 3 4    2 1  4
a a m i m

1
1
a i m i m

  
i

  
a m

1   
p p i m i

 2     2    3   2   2         
21 i
i 4 i 1 4

3 2  3 
1 4 2 1 4 2

p p p p
3
 2
p

[Link]
11

m m

              1  i4 p i     1  4    
m m m
i i
25 4 4

2  
i i p i 3
 2  1         
i

  
1 1

p 2 3
p p
p p

[Link]

 1 2        4       4  1   1  2  1 4  1
29

 3    2    4   2   
 
2

1  3
3

 4  4     1 4       1 4   1  
     2 
33

  
3

           
4


1


1 2
3 1 3


2
cresc.

a
 4
a

1 1
a i a
  4  4   i 1  i 
m a i m

1    
37

  2    2  3 3  2    2   3     3    2  
m p i 4
1

2
3 3
2
p
12

Estudio en Re mayor
(Op. 44, nº 15)
Fernando Sor

   4  2  1 i  2  1   1
i m i m a

 1   3 1  3     3  
     3 
2
1 1


1
p p
p

[Link]
m i

   4   3 1  2 1   1 4 42
m i mi

2  2  1
m i

1   1
i


i m

 
m


7

 2   
4 
 4 2       3 1  3 1  
4
1

  
2
p p
p

C. I ........................
i i m i
2 
m m a m i i m a i

  3 2 1 1
i i m
    1  2  1  

m i

2 2   1  
m m

 
13

 1     
 1  3 
2
2

 
1

  p

3


3 p
p p p p

C. II .................. m i m

  3  1 2 4  2  2  1  3 2 2
m a m i m a m i

3 4
i

4 
i m a m i m i m i

 2 
 2 2      1 

 1    1
18

      
1 
1

  
3
3 2 2
3
cresc.


m i

 
m i m i

 2            2  1  1  1  
i m i m i


m m

  3  1     2 3 2
4 
24

1
2

 3 
1

 
4 2 4

3 1     1 4
  
3


3 1

3 p p p
p p p
i

4   1 
m i m m
2
i

 2  2  2 
m i m

  2  
m

  
i

 
i m i
  3   2   1  1    3  3  1 1  2 3   1  12 
29 m m 2

 1  4 
1 i m

3  1  1 4  4 1  3  p p p 3  3 
2

0
p rit.

[Link]
13

Estudio en Do mayor
(Op. 6, nº 8)
Fernando Sor
Andantino

 
1
          1 
   2    3
3
1 1 1

2  
4 2 4 4 4
3 2
3 3 1


3

 
   1   43  23  31  
C. III

1  31    1   4 
5

1     1  2  2  23    3  
2 1 1

1
1 
1

2 2
4 4 2 1
3
2 3 3
4
4 3

     
1/2 C. II ......

 
C. I
1
 1   
   4 
9

  
4 4 4 1

  
1

3   2 
1 3

 4 
2 3
2


2
4
2


4 1
   4 1
  
 3     3  
   21  
 
 2  
14 4 4

   1 
3

2  
1 1
3 4
2 2 2 2
2
2 2 4 3
4 3

         
    
19

   
1 1 2

  2 1
1 1 4 1

   
1 4 1 4 4
2 2 3 2
3
2 3 3 1


3

cresc.

 
C. V ........

     12  2   
3

1     
24

2
1

2    
1 1 2 4 1 4

  
2 2

1  1
4 1 3 3 3 1


3 2


3 1 3 3

   4   4
     1 4    3   
29

 1  1 
3 3 3  
2 2 4

 2   32 
 2 
 1 
2
2 4 2 2
2

     
C. I ...................

 2  4  1  1  1 2    4 2
34

 2      3  32  2
  2  4      2
1

3 3  2 2
 4
 3
 4
  
3 
4 3 rit.

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