Chants de joie, fureur et danger 31.3.2019

33 434

Lauri Kilpiö

Chants de joie,

fureur et danger

Poème de jeux acoustiques II

for solo guitar

2016

C o p y r i g h t © b y t h e C om p o s e r A l l R ig h t s Re s e r v e d N o p ar t o f th i s pu b l i c ati o n m a y b e c o p i e d o r r e p r o d u ce d i n a ny f or m o r b y a ny m e a n s w i th o u t t h e p r i o r p e r m is s i o n o f th e c o m p o s e r D i s t r ib u t i on : M usi c F i n lan d M u s i c L i b r a r y U r h o K e k k os e n k a t u 2 C , 6 t h f l o o r F I - 0 0 1 0 0 H e l s i n k i F i nl a nd m u s i c l ib r a ry @ m u s i c f i nl a n d. f i w w w . m u s ic fi n l an d . f i H e l s i n k i , 2 01 9

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Lauri Kilpiö: Chants de joie, fureur et danger – Poème de jeux acoustiques II For Solo Guitar Duration: ca. 15’ Composed in 2016 Commissioned by Jyrki Myllärinen with the funds from the Teosto Foundation for Composition Commissions Première: Jyrki Myllärinen at the Ja kitara soi festival, Lappeenranta, Finland, on November 13th 2016 Dedicated to Jyrki Myllärinen

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Notes on performance and notation: The guitar is tuned according to the following scordatura:

The performer needs 2 slides, a plectrum and a credit card. The piece is almost exclusively based on the so called extended techniques, often producing noisy sounds without perceivable pitch. The slides, for instance, are used in many unconventional ways in the piece. The notation is to a large extent based on the principle of action notation; i.e. the notation mostly informs, how to act and on which part of the instrument to touch, and not that much, how the music should exactly sound like. The actions of the right hand (R.H.) and the left hand (L.H.) are always presented separately, i.e. the upper staves apply to the right hand, the lower staves to the left hand. Besides the ordinary treble clef, 4 special clefs are in use in the piece. The notes with the different clefs are showing the locations and the directions of the actions on the surface of the instrument. Quite often 2 staves with 2 different clefs are in use even for the same hand at the same time, the information on the different staves complementing each other. In addition to the clefs, some other graphical symbols are also in use, providing additional information about the desired effects and playing techniques. Even more information is provided by different note heads, some verbal instructions and verbal abbreviations.

1. Special Clefs:

1.1 The String Position Clef

A staff with 6 lines with wide spaces between each other is used with this clef. The notes on the clef are showing, where and in which direction an action should be performed on the strings. The different staff positions are giving indications according to the following principles:

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The actual string positions indicated by the notes with this clef are approximations. However, the relations between the successive notes on the staff should be executed according to the score.

1.2 The String Clef

The notes on this clef are showing the string(s) on which an action should be performed. Thus:

= Play (with the plectrum) on the string III

= Play (with the slide) on the strings I-V (bar 11).

= Play a very fast tremolo (with the edge of the tip of the slide) between the strings I and III and across the string II (bar 1). As information is often presented with the string position clef and the string clef for the same hand at the same time, the notation may give indications e.g. as follows:

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= Play a tremolo (with the right hand, with credit card) on strings IV-VI, rubbing between two very high nearby string positions (b. 19).

= Play a very fast tremolo (with the slide) between the strings I and VI and across the strings in between, as repeated fast arpeggios. Start at a very high string position, moving gradually towards the sound hole. (Bars 378–379).

= Play a downward arpeggio across the strings I-VI with the tip of your right index finger (i, FT), at the higher-position side of the sound hole. (Bar 516, 2nd beat). If no string position is defined by the string position clef, the plucking or other action should take place at an ordinary position.

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1.3 The Top of the Sound Board Clef

This clef indicates that you should tap or knock on the top (T) of the sound board (SB). Music is written with this clef in bars 34, 40, 65, 172–173, 223–233 and 492–500. The positioning of the notes on the staff are guided by the following principles:

1) A note on the line means that you should not tap or knock at the edge of the top, but rather at the center of it, i.e. close to the strings.

2) A note between the lines, above or below the staff means that you should knock at the edge of the top.

3) The higher the note position on the staff, the closer to the neck you should tap or knock on the soundboard. The lower the note position on the staff, the closer to the bottom you should tap or knock on the soundboard.

The following two examples illustrate, how the different note-positions on the stave are indicating the different approximate tapping or knocking locations on the soundboard:

A) The graph shows, how the five different note-positions on the staff-lines are indicating the five different approximate tapping or knocking points on the top of the sound board.

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B) The graph shows, how the six different note-positions between the staff-lines, above or below the staff are indicating the six different approximate tapping or knocking points on the top of the sound board.

When the tapping is to happen with the fingertip, the abbreviation FT is written above the note. When the tapping is to happen with the finger joint, the abbreviation F.J. is written above the note.

1.4 The Side Clef

This clef indicates that you should knock on the side (S) of the guitar. Music is written with this clef in bars 40, 66 and 487–488. The positioning of the notes on the staff are guided by the following principles:

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A) A note on the line means that you should knock at the middle of the side of the guitar. B) A note between the lines or above the staff means that you should knock at the edge of side,

i.e. close to the top of the soundboard. C) The higher the note position on the staff, the closer to the neck you should play on the side.

And the lower the note position on the staff, the closer to the bottom you should play on the side.

The following two examples illustrate, how the different note-positions on the stave are indicating the different approximate knocking points on the side:

A) The graph shows, how the five different note-positions on the staff-lines are indicating the five different approximate knocking points on the side of the guitar.

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B) The graph shows, how the five different note-positions between and above the staff-lines are indicating the five different approximate tapping or knocking points on the side of the guitar.

Knocking the soundboard is always done with the finger joint (abbr. F.J.).

2. Other Graphical Symbols

2.1

= Play a tremolo between and across the strings with the edge of the tip of the slide, keeping the slide in a parallel but diagonally ascending position with the strings. The strings and the string positions to be touched with the slide are nominated separately. In a practical context, the notation may appear e.g. as follows:

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= (Right hand): Play a tremolo back and forth with the edge of the tip of the slide, between the strings I, II and III, at a string position at the higher side of the sound-hole (bar 1).

2.2

= Play an arpeggio across the strings with the edge of the tip of the slide. Keep the slide in a contrary and diagonally ascending position with the strings. In a practical context, the notation may appear e.g. as follows:

= Play an upward arpeggio from the string VI to the string I with the edge of the tip of the slide, at a high string-position (b. 8, 3rd beat).

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2.3

= An ordinary barré-position of the slide, set horizontally across the strings. Besides the left hand, this technique is very often used by the right hand as well. The strings and the string positions to be touched are defined separately. In a practical context, the notation may appear e.g. as follows:

= Play barré stops (with the right hand) with slide on the strings I–III, with bouncing staccato articulation. Start at a very high string position, then move gradually towards the sound hole. (Bars 9–10).

= Play barré stops (with the right hand) with slide on strings I–VI, the first stop being at the right-side edge of the sound hole, then the other two gradually closer to the bridge. After pressing the slide down, make fast glissandos towards the bridge, producing a whining sound. (B. 15).

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= Barré stops with slide, the exact stopping positions are given by the ordinary clef. (B. 69).

= Barré stops with slide, the exact stopping positions are given by the ordinary clef; keep the strings damped all the time with side of the left palm (see the chapter 2.7). (B. 175).

2.4

= Rub a pair of strings with the edge of the tip of the slide, keeping the slide in a parallel but diagonally ascending position with the strings. The strings and the string positions to be touched are nominated separately. In a practical context, the notation may appear e.g. as follows:

= Rub the strings IV and V (with the right hand) with the edge of the tip of the slide, with a fast tremolo movement between two adjacent high string positions (b. 120).

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= Rub the strings V and VI (with the right hand) with the edge of the tip of the slide. Make one rubbing (glissando) downwards, starting at the higher-position edge of the sound hole. (B. 464)

2.5

= Play with credit card, keeping the card in an upright position. In a practical context, the notation may appear e.g. as follows:

= Play a tremolo (with the right hand) with credit card on strings IV-VI, between two high nearby string positions (b. 21).

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(No arrows attached to the notes with the string position clef): touch the strings IV-VI shortly with uprightly-held credit card, without rubbing, on the nominated string-positions (b. 26).

(Arrows attached to the notes on the string position clef): rub the strings IV-VI downwards 5 times with uprightly-held credit card, starting each time on the nominated string-position. (B. 28).

2.6

= With plectrum. In a practical context, the notation may appear e.g. as follows:

= Play arpeggios with plectrum from the string VI to the string I (bars 175–176).

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= Pluck the nominated strings with plectrum (b. 424).

No arrows attached to the notes with the string position clef: touch the strings I–II shortly with plectrum, without rubbing, at a high string-position (b. 478).

Arrows attached to the notes on the string position clef: rub the strings I and II downwards, starting each time at the nominated string-position. (B. 192).

2.7

= Damp the strings by lightly laying the flat or the side of the palm on them, at an undefined string position

= Keep the strings damped until otherwise specified.

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= (At the beginning of a system): the strings were to be kept damped until the sign and they are to remain so, until otherwise specified.

2.8

= Stop damping the strings.

3. Note heads Different note heads refer to different playing techniques, with or without a certain implement.

3.1 Ordinary note heads

Ordinary note heads refer to plucking, stopping, rubbing or tapping the strings or the body of the instrument “normally”, without an implement, i.e. with your (whole) finger, fingertip, fingernail, finger joint or palm. Ordinary note heads are in use for both hands. The exact way of action is defined on the staves with different clefs, and by verbal markings and abbreviations. In practice, the notation with ordinary note heads may give e.g. following results:

= Play an arpeggio from the string VI to the string I, with the nail (FN) of the index finger (1) of your left hand (b. 1).

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= Play an arpeggio from the string VI to the string I, with the tip of your right finger. Let vibrate (see the ties). (B. 69).

= Play an arpeggio from the string II to the string VI, with the nail (FN) of the thumb (p) of your right hand (b. 25).

= Play a tamborra-stroke on all six strings, with the flat of your right hand index finger, at the bridge-side edge of the sound-hole (b. 34).

= Rub the string VI with the fingernail (FN) of your left thumb (T), between two relatively low string positions (b. 34).

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= Tap the front sound board with the tip of your right middle finger, away from the edge, at a mid-position between the neck and the bottom (b. 65).

= Play an ordinary barré stop at the notated position. The ordinary barré stops may here be played with the side of the palm of your left hand (b. 372).

3.2 Diamond-shaped note heads (either blank or black, depending on the rhythmic value)

Diamond-shaped note head without L.V. tie: stop almost as a harmonic by touching the string(s) lightly, a stifled sound with no actual pitch content should result. In practice, the notation with ordinary note heads may give e.g. following results:

= Barré stop at the notated position played in the aforementioned manner. In practice, this means damping all the strings at the notated position, which is often best executed with the side of your left palm. (B. 45).

Diamond-shaped note head with L.V. tie: genuine harmonics stop with echo produced by immediately releasing the plucked strings.

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= Barré stop with natural harmonics (b. 56).

= Keep the notated barré stop (here actually a damping of all the strings) pressed until otherwise specified (b. 1).

(At the beginning of a system): the same barré stop was pressed down before the diamond-shaped notes, and it will be pressed down after them, until otherwise specified (b. 7).

= The same barré stop was pressed down before the diamond-shaped notes, but it will not be pressed down after them (b. 66).

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= Barré stops in very high string positions, the first one with and the second one without natural harmonics, notated with a vertical connecting beam. In both cases, the lower note shows the position of the barré stop on the string VI. (B. 60–61).

3.3 Rectangular-shaped note heads (either blank or black, depending on the rhythmic value)

Rectangular-shaped note heads indicate playing with slide, both with the right and the left hand. As to the definitions of the exact different playing manner and the notational examples, see the chapters 1.1–1.2 and 2.1–2.4.

3.4 Triangular-shaped note heads (either blank or black, depending on the rhythmic value)

Triangular-shaped note heads indicate playing with plectrum or credit card. The implement to be used is defined by the graphical signs. As to the definitions of the exact playing manners and the notational examples, see the chapters 1.1–1.2 and 2.5–2.6.

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3.5 Damp-sign-shaped note heads with the string position clef

Damp-sign-shaped note heads with the string position clef refer to damping the strings with your (left) palm at the indicated string position (b. 23).

= During the glissando notes, change between two damping positions of the palm on the strings, in the given rhythm. Sound is produced by the friction between the moving palm and the strings. (B. 483–484).

4. Alphabetical list of abbreviations used in the piece a = right ring finger FG = Finger (play with the whole flat of your finger) F.J = Finger joint (with the top of the soundboard clef and the side clef) FN = Fingernail FT = Fingertip i = right index finger m = right middle finger p = right thumb T = left thumb

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Lauri Kilpiö 2016

Chants de joie, fureur et danger - Poème de jeux acoustiques II Commissioned by Jyrki Myllärinen with funds from Teosto

Dedicated to Jyrki Myllärinen

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.··nn

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œœœœœœH5

......······loco

......œœœœœœ H ......

œœœœœœ H

......‚‚‚‚‚‚b

œœœœœœ H Œ Œ Œ

······

p

SB

T

&

43

43

43

43

44

44

44

44

43

43

43

43

R.H.

L.H.

65

∑

œ œ œ Jœ Œ Œ3 3

S

∑

······

p

Softly, but excitedly

m, FT.

∑

œ œ œ Jœ Œ Œ3 3

∑

‚‚‚‚‚‚

m, F.J.

œœœœœœ. œœœœœœ

. œœœœœœ. œœœœœœ

. œœœœœœ. Œ Œ

5

∑

fi fi fi fi

∑

π

i, FG.

∑U

∑U

∑U

∑U

Take the slide to the left hand.

4

&

43

43

42

42

85

85

42

42

46

46

R.H.

L.H.

69

......Jœœœœœœ H ≈ Œ Œ

–––––––––––œ####

––––––––––––####

3

Lyrically, expressivelyAlways FT.

p

∑

¬¬¬¬¬¬æ

......Jœœœœœœ H ≈ Œ ‰

––––––––––––####

––––––––––––

––––––

......Jœœœœœœ ≈ Œ

––––––nbnnnb

––––––

Sim. ......Jœœœœœœ ≈ ‰

Jœœœœœœ

––––––bbbbbb

––––––––––œ–bbbnbb

&

46

46

46

46

43

43

43

43

44

44

44

44

R.H.

L.H.

74

......Jœœœœœœ ≈ Œ ......J

œœœœœœ ≈ Œ ......Jœœœœœœ ≈ Œ

∑

∑

¬¬¬¬¬¬nnnnnn

¬¬¬¬¬¬nnn#nn

¬¬¬¬¬¬b

p π RœœœœœœK. ‰ .fi

Œ Œ

Œ Œ

fi

Œ j–.

5

Œ Œ ŒJ––––––

5

––––––Œ Œ

Lightly, elegantly

p

π

ŒRœœœœœœH. ‰ . Œ

RœœœœœœH. ‰ .

–. –. –. –. –. –. –. –. –. ‰5 5

––––––––––––

––––––––––––

––––––––––––

––––––––––––

–––––– ‰5 5

∑

π∑

∑

∑

∑

&

43

43

86

86

44

44

43

43

R.H.

L.H.

78

......Jœœœœœœ H ≈ Œ Œ Œ

––––––bbb

––––––––––––bbb

¬¬¬¬¬¬¬¬¬¬¬¬bbb

3

p

Lyrically, expressively ......Jœœœœœœ H ≈ Œ ......J

œœœœœœ ≈

––––––bbb

––––––––––––

––––––––––––

––––––######

5

Sim. ......œœœœœœ ≈ œœœœœœ

......œœœœœœ ≈ œœœœœœ

––––––###

J

––––––####

––––––b

J

––––––

p

......Jœœœœœœ ≈ Œ ......J

œœœœœœ ≈ Œ

¬¬¬¬¬¬#####

¬¬¬¬¬¬nnnn

P

&

43

43

43

43

43

44

44

44

44

42

42

42

42

44

44

44

44

87

87

87

87

87

R.H.

L.H.

82

∑

RœœœœœœK. ‰ .fi

Œ Œ

Œ Œ

fi

Œ j–.

5

Œ Œ ŒJ––––––

5

––––––b Œ Œ

pLightly, elegantly

π

∑

ŒRœœœœœœH. ‰ . Œ

RœœœœœœH. ‰ .

–. –. –. –. –. –. –. –. –. ‰5

5

––––––––––––

––––––––––––

––––––––––––

––––––––––––

–––––– ‰5 5

π

∑

∑

∑

∑

Move the slide to the right hand

– – – –

¬ ¬ – – – –

∑

∑

π ∏

Very lightly and elegantly

∑

∑

∑

∑

Move the slide to the left hand

5

&

87

87

44

44

45

45

44

44

43

43

R.H.

L.H.

87

......Jœœœœœœ H ≈ Œ Œ ‰

––––––bbbbb

––––––––––––bbbbb

––––––––––––bbbbb

––––––––––––bbbbb

––––––––––––bbbbb

3

Always FT.

P

Lyrically, expressively

......Jœœœœœœ H ≈ Œ Œ œœœœœœ H Œ

3

––––––#####

––––––––––––## –––––– J

––––––## ––––––

––––––## ––––––

3 3 3

......Jœœœœœœ ≈ Œ ......J

œœœœœœ ≈ Œ Œ

¬¬¬¬¬¬nnb ¬¬¬¬¬¬

bbbbbb

......¬¬¬¬¬¬b

Sim.

RœœœœœœK. ‰ .fiŒ Œ Œ

––––––#### Œ Œ Œ

p

&

43

43

42

42

44

44

42

42

R.H.

L.H.

91

......Jœœœœœœ H ≈ Œ œœœœœœ H ≈ œœœœœœ

––––––bb ––––––# ––––––

......––––––######

––––––3

Sim.

P

Œ Œ ......Jœœœœœœ ≈

––––––######

––––––# ––––––

######

––––––––––––######

––––––––––––######

––––––––––––######

––––––#

5

......Jœœœœœœ ≈ Œ

––––––######

––––––### ––––––

######

3

......Jœœœœœœ ≈ Œ Œ Œ

––––––### ......

¬¬¬¬¬¬

RœœœœœœK.

fi‰ .Œ Œ Œ

––––––#### Œ Œ Œ

p

&

42

42

43

43

42

42

43

43

44

44

86

86

R.H.

L.H.

96

......Jœœœœœœ H ≈ œœœœœœ

œœœœœœ

––––––b ––––––

––––––#####n

Sim.

F∑

......¬¬¬¬¬¬

Rœœœœœœ. K‰ .fi

Œ Œ

––––––nn Œ Œ

p

œœœœœœ H œœœœœœ Jœœœœœœ ‰

––––––######

––––––#####

––––––

Sim.

FŒ

Jœœœœœœ ‰ Œ

––––––¬¬¬¬¬¬#P R

œœœœœœ. Kfi‰. Œ Ó

––––––bnbb Œ Ó

p

&

86

86

86

86

86

44

44

44

44

44

43

43

43

43

43

44

44

44

44

44

42

42

42

42

42

R.H.

L.H.

102

∑

Jœœœœœœ H Œ

Jœœœœœœ H Œ

∑

∑––––––### ––––––

######

––––––### ––––––

nnnnnn

––––––nbnnbb

––––––

p

Softly, tenderly, mysteriously

∑

Jœœœœœœ Œ .

Jœœœœœœ Œ .

∑

∑––––––bbb

––––––######

––––––––––––nnnnnn


––––––#n###n

––––––––––––nbnnnb

Sim.

ritard.

π

Œ Œ Œ j–.5

Œ Œ ŒJ––––––

5

Œ Œfi

∑

∑Move the slide to the right hand

a tempo

π

Dryly, very lightly and mysteriously

. . . . . . . . –.

5

––––––––––––––––––––––––––––––––––––––––––––––––––––––

5

fi fi fi fi∑

∑

∏∑U

∑U

fiŒ Ó

U

∑

∑U

6

&

42

42

42

42

44

44

44

44

45

45

45

45

44

44

44

44

42

42

42

42

44

44

44

44

R.H.

L.H.

107

.J– ≈ .J– ≈

.–> .– ≈ .–> .– ≈

∑

······bbbbb

Briskly, lively, playfully[q = 116]

F

.¬ R– ‰ .

.¬> .¬R––––––K. ‰ .

Œ Œ ŒRœœœœœœ. H‰ .F

1, FN.

.J– ≈ .J– ≈ ¬ R– ‰ .

.–> .– ≈ .–> .– ≈ ¬> ¬

R––––––.K‰ .

Ó ÓRœœœœœœ. H‰ .F

1, FN.

.j– ≈ .j– ≈ –>– r– Kfl‰ .

.–> .– ≈ .–> .– ≈ –– r–– ‰ .

Ó ŒRœœœœœœ. H‰ .F

F

1, FN.

–>– r– Kfl‰ .

–– r–– ‰ .

ŒRœœœœœœ. H‰ .

F

1, FN.

&

44

44

44

44

45

45

45

45

43

43

43

43

44

44

44

44

R.H.

L.H.

112

–> – ≈ ‰ . j–. –. –. –. –. –.

5

5

...j––– ≈ ‰ . j––– ––– ––– ––– ––– –––

5 5

Œ Œ Œ Œ

······bbbbb

f p

Lightly, elegantly

–. –. Œ . Ó Œ5

––– ––– ‰ Œ Ó Œ5

ŒRœœœœœœ.H‰ . Œ Œ Œp

1, FN.

.J– ≈ .J– ≈ ¬ r– ‰ .

.–> .– ≈ .–> .– ≈ ¬> ¬ R

–––––– H. ‰ .

Œ Œ Œ ŒRœœœœœœ. H‰ .

F

F

Briskly, lively, playfully

1, FN.

.J– ≈ .J– ≈ –

.–> .– ≈ .–> .– ≈ –> –

∑

f

&

44

44

44

44

45

45

45

45

44

44

44

44

45

45

45

45

44

44

44

44

R.H.

L.H.

116

R– ≈ ‰ ‰ . J–. –. –. –. –. –.

5 5

R––––––K. ‰ . ‰ . J

––– ––– ––– ––– ––– –––5 5

Rœœœœœœ. H‰ . Œ Œ Œ

······bbbbb

Lightly, elegantly

p

1, FN.

–. –. Œ . Ó5

––– ––– Œ . Ó5

∑

.j– ≈ .j– ≈ ¬ R– ‰ .

.–> .– ≈ .–> .– ≈

¬> ¬ R–––– K. ‰ .

Ó ÓRœœœœœœ. H‰ .

F f

f

1, FN.

– r– ‰ . – r– ‰ .

–> – R–––– K. ‰ . –> – R

–––– K. ‰ .

ŒRœœœœœœ. H‰ . Œ

Rœœœœœœ. H‰ .

f f

1, FN. 1, FN.

.– .– ≈ .– .– ≈ Œ Œ Œ

..j–– ≈ ..j–– ≈ Œ Œ Œ

∑

F

Rub between two adjacent string positions

7

&

44

44

44

44

42

42

42

42

45

45

45

45

44

44

44

44

45

45

45

45

R.H.

L.H.

121

– r– ‰ . – r– ‰ .

–> –

r–––– K. ‰ . –> –

r–––– K. ‰ .

ŒRœœœœœœ. H ≈‰ Œ

Rœœœœœœ. H ≈‰

······bbbbb

f

f

1, FN. 1, FN.

– r– ≈ ‰

–> –

r–––– K. ‰ .

ŒRœœœœœœ. H ≈‰1, FN.

.– .– ≈ .– .– ≈ Œ Œ Œ

..j–– ≈ ..j–– ≈ Œ Œ Œ

∑

F.j– ≈ ¬ R–

. ‰ .

.– .– ≈¬> ¬ R

––––.K‰ .

Rœœœœœœ. H‰ . Œ Œ

Rœœœœœœ. H‰ .

f

f

1, FN. 1, FN.

.–>

.– ≈ .–>

.– ≈ Œ Œ

..j–– ≈ ..j–– ≈ Œ Œ

∑

f

&

45

45

45

45

44

44

44

44

43

43

43

43

R.H.

L.H.

126

.J– ≈ ¬ rœ ‰ ..J–

≈

.–> .– ≈ ¬> ¬r––––. K‰ .

.–> .– ≈

Rœœœœœœ. H‰ . Œ Œ

Rœœœœœœ. H ‰ . Œ

······bbbbb

f

f

ƒ

Furiously, powerfully

1, FN. 1, FN.

.J– ≈ .J– ≈ .J– ≈ .J– ≈ .J– ≈

.–> .– ≈ .–> .– ≈ .–

> .– ≈ .–> .– ≈ .–> .– ≈

∑

.¬–

– – – –––––

∑

ƒR– ‰ . ‰ . J–

. . . . . .5 5

R––––––K˘‰ . ‰ .

J–––––––––––––––– –––– –––– ––––

5

5

Rœœœœœœ. H‰ . Œ Œ Œf

P

Lightly, elegantly

1, FN.

j–. Œ Œ Ó5

j––– Œ Œ Œ Œ5

∑

p

&

43

43

43

43

44

44

44

44

43

43

43

43

44

44

44

44

43

43

43

43

R.H.

L.H.

131

¬ r– ‰ .

¬ ¬r––– K. ‰ .

Œ ŒRœœœœœœ. H ≈‰

······bbbbb

P

P

Mysteriously

1, FN.

– r– ‰ . –

– –r––– K. ‰ . – –

ŒRœœœœœœ. H ≈‰ ŒP

1, FN.

r– ≈ ‰ ‰ . J–. –. –. –. Œ5 5

r–––K. ‰ . ‰ . j––– ––– ––– ––– Œ5 5

Rœœœœœœ. H ‰ . Œ ÓP

p

Lightly, elegantly

1, FN.

∑

∑

∑

– r– ‰ . –

– –r––– K. ‰ . – –

ŒRœœœœœœ. H ≈‰ ŒP

P

Mysteriously

1, FN.

r– ≈ ‰ ‰ . j–. –. –. –. –. ‰5 5

r–––K. ≈ ‰ ‰ .j––– ––– ––– ––– ––– ‰

5 5

Rœœœœœœ. H ‰ . Œ ÓP

p

Lightly, elegantly

1, FN.

∑

∑

∑

8

&

44

44

44

44

42

42

42

42

85

85

85

85

42

42

42

42

85

85

85

85

43

43

43

43

R.H.

L.H.

138

– r– ‰ . ‰ . J–̆5

– –r–––– ‰ . ‰ . j––––

5

ŒRœœœœœœ. H ≈ ‰ Œ

······bbbbb

;

i, FN.

P

P

Lightly, elegantly

P

–. –. –. –. J–. Œ J–

˘

–––– –––– –––– ––––j–––– Œ j––––

∑

q = q = 145 :

p P

5

–. –. –. –.

–––– –––– –––– ––––

∑

p‰ –

˘–. –. –.

‰ –––– –––– –––– ––––

∑

P p–. –. –. –.

–––– –––– –––– ––––

∑

–fl

–. –. –. –.

–––– –––– –––– –––– ––––

∑

&

43

43

43

42

42

42

85

85

85

83

83

83

42

42

42

85

85

85

42

42

42

43

43

43

87

87

87

R.H.

L.H.

144

Œ Œ ‰ J–̆

Œ Œ ‰ j––––······bbbbb

P–. –. –. –.

–––– –––– –––– ––––p

‰ –̆ –. –. –.

‰ –––– –––– –––– ––––P p

–̆ –. –.

–––– –––– ––––P p

–. –. –. –.

–––– –––– –––– ––––

–˘–. –. –. –.

–––– –––– –––– –––– ––––p

–˘–. –. –.

–––– –––– –––– ––––P

Œ ‰ –. –. –.

Œ ‰ –––– –––– ––––P

&

87

87

87

42

42

42

86

86

86

87

87

87

43

43

43

87

87

87

R.H.

L.H.

152

–˘–. –. –. –

˘ –. –.

–––– –––– –––– –––– –––– –––– ––––······bbbbb

FŒ –. –.

Œ –––– ––––

F

–˘ –. –. –̆ –. –.

–––– –––– –––– –––– –––– ––––

f–fl–. –.

–̆ –. –.

––––––––––––––––––––––––––––––

f

Frenetically

–˘–. –. –̆ –. –.

––––––––––––––––––––––––––––––

–˘–. –. –̆ –. –

˘–.

––––––––––––––––––––––––– –––––

–––––f

–̆ –. –˘–. –̆ –.

–––––––––– –––––

–––––––––––––––

∑

ƒ

&

87

87

87

85

85

85

45

45

45

44

44

44

45

45

45

44

44

44

R.H.

L.H.

159

‰ –˘–. –. –

˘–. –.

‰ ––––––––––––––––––––––––––––––

······bbbbb

ƒ–˘–. –. –

˘–.

–––––––––––––––––––––––––

–> –> –> –> –> –> –> –> –> –>

––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

ƒ

–> –> –> –> –> –> –> –>

––––––––––––––––––––––––––––––––––––––––––––––––

Ï

Œ .j–> ≈ .j–

> ≈ .j–> ≈ .j–

> ≈–} –} –} –}

Œ ....j–––– ≈ .....

j––––– ≈ .....j––––– ≈ .....

j––––– ≈ƒ

&

44

44

44

43

43

43

45

45

45

42

42

42

43

43

43

44

44

44

R.H.

L.H.

164

Œ .J–> ≈ .J–

> ≈ .J–> ≈–} –} –}

Œ .....j––––– ≈ ......J

–––––– ≈ ......J–––––– ≈

······bbbbb

.J–> ≈ .J–

> ≈ .J–> ≈–} –} –}

......J–––––– ≈ ......J

–––––– ≈ ......J–––––– ≈

Ï

Hit the strings from a short distance in the highest positions.

Œ .J–> ≈ .J–

> ≈ .J–> ≈ .J–

> ≈–} –} –} –}

Œ ......J–––––– ≈ ......J

–––––– ≈ ......J–––––– ≈ ......J

–––––– ≈

–. –. –. –.

––––––––––––––––––––––––

ƒ‰ J–. –. –. –. –.

‰J––––––––––––––––––––––––––––––

Œ –. –. –. –. –. –.

Œ ––––––––––––––––––––––––––––––––––––

······bbbbb

f

9

SB

T

46

46

46

46

46

44

44

44

44

44

46

46

46

46

46

44

44

44

44

44

R.H.

L.H.

170

∑

∑

∑

Œ . j–. . . . .

Œ ‰fi J

––––––––––––––––––––––––––––––

f

Move the plectrum to the left hand

∑

∑

∑

. . . . . . . . . . . .––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Œ Œœ ≈ œ ≈

œ ≈ œ ≈

Œ Œ œœœœœœ

œ

œœœœœœ

œ

œœœœœœ

œ

œœœœœœ

œŒ Œ

–. –. –. –. –. –. –. –.––––––––––––––––––––––––––––––

––––––––––––

––––––

p, FT.

F

f

m+a, FG

Rœ ‰ . Œœ ≈ œ ≈

œ ≈ œ ≈

Rœœœœœœ> ‰ . Œ œœœœœœ

œ

œœœœœœ

œ

œœœœœœ

œ

œœœœœœ

œŒ Œ

–. –. –. –. –. –. –. –.––––––––––––––––––––––––––––––

––––––––––––

––––––

p, FT.

f

m+a, FG

Rœ ‰ . Œ Œ Œ Œ Œ

Rœœœœœœ> ‰ . Œ Œ Œ Œ Œ

Œ Œ Œ Œ Œ Œ

j–flŒ . Ó Ó

J–––––– ‰ Œ Ó Ó

Take the plectrum

&

44

44

46

46

R.H.

L.H.

175

J——————H˘

Œ .J——————H˘

Œ .

¬¬¬¬¬¬fiJ

––œ–––##### Œ .

f

Briskly, in the manner of a tango

——————H˘

‰ ——————H˘

‰J——————H˘

Œ .

––––––––––––nnb

J

––––––#### Œ .

J——————˘H Œ .

J——————˘H Œ .

¬¬¬¬¬¬#### J

––––––#

Œ .

——————˘H ——————

˘H ‰ ——————˘H ——————

˘H ‰ ——————˘H ‰

J

––––––bb ––––––

###

J

––––––# ––––––

nbnnbb J

––––––bbbbb ‰

&

46

46

46

44

44

44

46

46

46

44

44

R.H.

L.H.

179

Œ ‰ J—K. —K. —K. —K. —K. —K. —K. —K. —K.

J——————˘H‰ ‰ j—— —— —— —— —— —— —— —— ——

J

–––––– ‰j––––––.‰ Œ

j––––––.‰ Œ

j––––––.‰

F

F

—. —. —. —. —. —. —. —.

—— —— —— —— —— —— —— ——

ŒJ

––––––bbbbb.‰ Œ

J

––––––bbbbb.‰

Sim.

‰ —. —. —. ‰ —. —. ‰

‰ —— —— —— ‰ —— —— ‰

ŒJ

––––––nnn#nn˘‰ Œ

J

––––––bb˘‰

fŒ .± .±

Œ ..——

J

––––––fi

>‰ Œ Œ Œ

f

f

J—H˘ ‰ Œ J— ‰ Œ Œ Œ

j—— ‰ ŒJ——————H˘‰ Œ Œ Œ

∑

ƒ

&

44

44

43

43

R.H.

L.H.

√

184

J——————H˘

Œ .J——————H˘

Œ .

¬¬¬¬¬¬bb J

––––––n#n Œ .

f

——————H˘

‰ ——————H˘

‰ ŒJ——————H˘

‰

––––––bbb J

––––––bbbb ‰ Œ ––––––

nn

J——————H˘

Œ .J——————H˘

Œ .

¬¬¬¬¬¬###### J

––––––#### ‰ Œ

——————˘H ——————

˘H ‰ ——————˘H

J——————˘H ‰

J

––––––fi

––––––##### J

––––––####

j––––––nbnnnb

‰

&

46

46

R.H.

L.H.

(√)

188

——————˘H ——————

˘H ‰ ——————˘H

J——————˘H ‰

J

––––––nn

fi

––––––bbbbb J

––––––bb ––––––

f

——————H˘

‰ ——————H˘

‰ Œ

––––––nnn#n J

––––––###

‰ Œ

ƒ

——————˘H ——————

˘H ‰ ——————˘H

J——————˘H ‰

j––––––––––––

j––––––######

j––––––##### ‰

f

——————˘H ——————

˘H ŒJ——————˘H ‰

J

––––––### ......


––––––####

10

&

46

46

46

44

44

44

46

46

46

44

44

R.H.

L.H.

(√)

192

Œ ‰ J—K. —K. —K. —K. —K. —K

. —K. —K. —K.

J——————˘H‰ ‰ j—— —— —— —— —— —— —— —— ——

J

––––––b

fi‰ J

––––––.‰ Œ

J

––––––bbbbb.‰ Œ

J

––––––nn#nn.‰

F

F

ƒ—. —. —. —. —. —. —. —.

—— —— —— —— —— —— —— ——

ŒJ

––––––### .

‰ ŒJ

––––––.‰

Sim.

loco

—. —. —. —. ‰ —fl—fl—fl

—— —— —— —— ‰ —— —— ——

ŒJ

––––––bbbbb˘‰ Œ

J

––––––bbbbb˘‰

fŒ .± .±

Œ ..˙̇

j––––––>‰ Œ Ó

f

fj— KflŒ . j—

Œ . Œ Œ

jœœ ‰ ŒJœœœœœœHfl‰ Œ Œ Œ

∑

ƒ ƒ

&

44

44

R.H.

L.H.

197

J——————H˘Œ .

J——————H˘Œ .

¬¬¬¬¬¬bbbbbb J

–––––– Œ .

f

——————H˘‰ ——————H˘‰ Œ

J——————H˘‰

––––––b

J

–––––œ#n### ‰ Œ

––––––###

J——————H˘Œ .

J——————H˘Œ .

¬¬¬¬¬¬bb J

––––––#

Œ .

——————H˘‰ ——————H˘‰J——————H˘Œ .

––––––bbb


J

–––––– Œ .

——————H˘‰ ——————H˘‰J——————H˘Œ .

––––––bb

fi

––––––####

J

––––––##### ‰ Œ

f

——————H˘‰ ——————H˘‰J——————H˘Œ .

––––––––––––bbbbbb J

––––––nnnn ‰ Œ

——————H˘‰ ——————H˘‰ Œ

J——————H˘‰

–––––– J

––––––bbb ‰ Œ

––––––#n##nnƒ

&

89

89

42

42

86

86

85

85

R.H.

L.H.

√

204

——————˘H ——————

˘H ‰ ——————˘H ——————˘H ‰ ——————

˘H ‰

J

––œ–––#####

––––––####

J

––––––#####

––––––J

–––––– ‰

——————˘H——————˘H‰ ——————

˘H——————˘H‰ ——————

˘H‰

J

––––––b

fi

–––––– J

–––––––––––– J

––––––bbbbb ‰

——————˘H ——————

˘H ‰ ——————˘H ——————

˘H ‰ ——————˘H ——————

˘H ‰

j––––––bbb

––––––n#nn

j––––––## ––––––

bbj––––––

b––––––nn

f ƒ

——————˘H ——————

˘H ‰ ——————˘H

j––––––bbbbbb


J


——————H˘‰ ——————H˘ ——————H˘‰ ——————H˘

––––––nn

J

––––––nn# ––––––n

n j––––––###

Ï

&

85

85

43

43

83

83

44

44

R.H.

L.H.

(√)

J——————H˘‰ ——————H˘ ——————

˘H ——————˘H

––––––bbfi

––––––bbb

––––––#n##nn


ƒ

Œ Œ Œ

Œ Œ Œ

——————H˘‰ ——————H˘

––––––b

J


loco

ƒ

——————˘H‰ ——————

˘H‰ ——————˘H‰ ——————

˘H‰

––––––––––––bbbbbb

––––––nnnnnn ––––––

bbb

— ‰—̆K‰ J— Œ .

——————Hfl‰ — ‰ J

——————H˘Œ .

¬¬¬¬¬¬bbbbb ¬¬¬¬¬¬

#

f

f

f

— ‰—̆K‰ J— Œ .

——————Hfl‰ — ‰ J

——————H˘‰ Œ

¬¬¬¬¬¬#### ¬¬¬¬¬¬

bb

f

f f

J— ‰ ‰ J—K. —K. —K. —K. —K.

J——————H˘‰ ‰ j— — — — —

¬¬¬¬¬¬###

f

F

&

46

46

46

43

43

43

R.H.

L.H.

216

—K. ‰ ‰ —K. —K. —K. —K. —K.

j— ‰ ‰ j— — — — —¬¬¬¬¬¬######fi

F

j—K. ‰ ‰ — — ± ±

— ‰ ‰ —— ±±

¬¬¬¬¬¬bb

P P± ±

±±

¬¬¬¬¬¬bbbbb

± ±

±±

¬¬¬¬¬¬

p± ±

±±

∑

j—K.Œ . j— Œ .

j—— Œ .J——————H. Œ .

∑

p

p

∑

∑

∑

Put the plectrumaside.

11

SB

T

&

43

43

43

43

R.H.

L.H.

223

‰ Jœ Jœ ‰ œ œ

œ.

œœœœœœ. œœœœœœ.

œ.


j––––––###### .fi

‰ Œ Œ

p, FT.

m+a , FG

Mysteriously, ritualistically, excitedly, with a feeling of anticipation

Sonorously

π

∏

Very lightly


œ.


œ.


j––––––###### .

‰ Œ Œ

‰ .œ Jœ ‰

Jœ.

......œœœœœœ

.œ

œœœœœœ.

œ.

j––––––###### .

‰ Œj––––––

###### .

‰

œ œ œ œ œ œ

œœœœœœ˘ œœœœœœ

. œœœœœœ. œœœœœœ. œœœœœœ. œœœœœœ.

∑

j––––––######fl‰ Œ Œ

P

π

‰ .œ Jœ ‰

Jœ.

......œœœœœœ

.œ

œœœœœœ.

œ.

j––––––###### .

‰ Œj––––––

###### .

‰

π

∏

œ œ Jœ ‰ œ œ

œ–œœœœfl

œ–œœœœ. œœœœœœ.

œ.


j––––––######fl‰ Œ Œ

P

π

SB

T

&

44

44

44

44

R.H.

L.H.

229


œ.


œ.


j––––––###### .fi

‰ ‰j––––––

###### .

Œ

p

π

‰ .œ Jœ ‰

Jœ.

......œœœœœœ

.œ

œœœœœœ.

œ.

j––––––###### .

‰ Œj––––––

###### .

‰

˙ œ œ

˙̇̇̇˙̇˘

˙


j––––––######fl

‰ Œj––––––

###### .

‰

F P

p π

˙ Jœ ‰˙̇̇̇˙̇˘

˙

œœœœœœ.

œ.

j––––––######fl

‰ Œj––––––

###### .

‰

F P

p π

‰ Jœ œ Jœ ‰œœœœœœ. œœœœœœ. œœœœœœ

œ

œœœœœœ˘

œ̆

J

––––––# .

fi

‰J

––––––nbnbn.‰

J

–––––œ#n###n˘‰

F

π

P

Jœ ‰ Œ Ó

Jœœœœœœ˘‰ Œ Œ Œ

∑

J

––––––˘‰ Œ Œ Œ

Take the plectrum

f

P

&

R.H.

L.H.

235

∑

∑

J——————H˘Œ .

J——————H˘Œ .

J

––––––# - Œ . J

––––––bbbbb-Œ .

Briskly, in the manner of a tango

f≈R——————H> ‰ ≈

R——————H> ‰ ≈

R——————H> Œ .

––––––-

‰––––––-

‰J

––––––bbbbbb-

‰ Œ

J——————˘H Œ .

J——————˘H Œ .

J


fi

-‰ Œ J

––––––#n###n-

‰ Œ

——————˘H ——————

˘H ‰ ——————˘H ‰ ——————

˘H ——————˘H ‰

––––––- ––––––

#####-

‰––––––###-

‰––––––nnnnnb- ––––––

nb -‰

No glissando between the frets.

&

43

43

R.H.

L.H.

240

Œ ‰ J—K. —K. —K. —K. —K.

——————flH ‰ ‰ —— —— —— —— ——

J

––––––### -

‰ Œ Œ Œ

FJ—K. ‰ Œ Œ Œ

j—— ‰ Œ Œ Œ

Œ Œ Œ Œ

P

J——————H˘Œ .

J——————H˘Œ .

J

––––––bbbbbb-Œ . J

––––––nn-Œ .

fŒ ≈

R——————H> ‰ ≈

R——————H> ‰ ≈

R——————H> ‰

Œ J

––––––#####-

‰––––––####-

‰––––––nnnnnb-

‰

J——————˘H Œ .

J——————˘H Œ .

J

––––––### -

‰ Œ J

––––––-

‰ Œ

12

&

43

43

44

44

R.H.

L.H.

——————˘H ——————

˘H ‰J——————˘H

J——————˘H ‰

––––––bbb- ––––––

# -‰ J

––––––nn-

J

––––––bbbnbb-

‰No glissando between the frets.

f

——————˘H ——————

˘H ‰ ——————˘H ≈

R——————H> ‰ ≈

R——————H> ‰

––––––-

fi

––––––bbbbb-

‰––––––bbbbbb- ––––––

bbbbbb-

‰––––––nnnn-

‰

ƒ

No glissando

Œ ‰ J—˘H ± ±

≈R——————H> ‰ ‰ j—— ±

J

––––––nnnnnn-

‰ Œ Ó

FJ— H˘ Œ . Ó

j— Œ . Ó

∑

f

&

R.H.

L.H.

249

≈R——————H> ‰ ≈

R——————H> ‰ ≈

R——————H> ‰ Œ


‰––––––bbbbbb-

‰ J

––––––nnnnnb-

‰ Œ

ƒ

——————H. ——————H

. ‰J——————H.

J——————H. ‰ Œ

––––––### -

fi

––––––bnbn-‰

––––––nbnnbb-

J

––––––nnn#nn-‰ Œ

No glissando

P

≈R——————H> ‰ ≈

R——————H> ‰ ≈

R——————H> ‰ Œ

––––––-

‰––––––-

‰ J

––––––bbbbb-

‰ Œ

ƒ

——————H. ——————H

. ‰ ——————H. Œ

J——————˘H‰

––––––- ––––––

bbbbbb-

‰––––––bbbbbb-

Œ J

––––––bbbbb-‰

f

No glissando

PJ——————˘H‰ Œ

J——————˘H‰ Œ

J

––––––bbb-‰ Œ J


‰ Œ

&

R.H.

L.H.

√

254

J——————˘H ‰ Œ ‰

J——————˘H Œ

J

––––––### -

‰ Œ ‰ J

––––––b - Œ

ŒJ——————˘H‰ Œ Œ

ŒJ

––––––bb-‰ Œ Œ

ƒJ——————˘H ‰ Œ Œ

J——————˘H ‰

J

––––––# -

‰ Œ Œ J

––––––####-‰

Œ Œ ‰J——————˘HŒ

Œ Œ ‰ J

––––––-Œ

ÏŒ Œ

J——————˘H‰ Œ

Œfi

Œ J

––––––-

‰ Œ

ÏŒ Œ

J——————˘H‰ Œ

Œ Œ......J

––––––-

≈ ŒDuring the note value, make an upward glissando from the notated slide position.

Ï

&

46

46

44

44

R.H.

L.H.

(√)

260

Œ Œ Œ ‰J——————H˘

Œfi

Œ Œ ‰ J

––––––

Ï

——————H˘ ——————H

˘ ——————H˘ ——————H

˘J——————H˘

ŒJ——————

......––––––n#

J


Sim. ————————————

————————————

—————— ‰ ‰ ——————

......––––––bbb J

––––––###loco

————————————

————————————

————————————

————————————

————————————

————————————

¬¬¬¬¬¬bb

&

44

44

44

46

46

46

44

44

44

46

46

46

44

44

44

43

43

43

R.H.

L.H.

264

Œ . J—K˘ —K˘ —K˘ —K˘ —K˘

——————Hfl‰ ‰ — — — — —

¬¬¬¬¬¬####fi

f

—K˘‰ ‰ —.K—K. —K. —K. —K.

— ‰ ‰ — — — — —

F

j—K. ‰ ‰ — — ± ±

j— ‰ ‰ j—— ±±

F±±

.± .±

..±±

Pj— K.‰ Œ Œ Œ

j—— ‰ Œ Ó

¬¬¬¬¬¬b

∑

∑

J

––––––bbfi‰ Œ Ó

13

&

43

43

43

R.H.

L.H.

271

‰ J—. K J—

. K ‰ —. K —. K

‰ j—— j—— ‰ —— ——

J

––––––####.

fi

‰ ‰J

––––––####.

Œ

p

p

Ritualistically, excitedly, with a feeling of anticipation

Lightly, elegantly

Lightly, elegantly

‰ J—K. J—K. ‰ —K. —K.

‰ j—— j—— ‰ —— ——

J

––––––####.

‰ ‰J

––––––####.

Œ

‰ .— .— ‰ J—. K

‰ ..—— ‰ j——

J

––––––####.‰ Œ

J

––––––####.‰

‰ J—K˘ —K˘ —K˘ —K˘ —K˘

‰ j— — — — —

J

––––––####.‰ Œ Œ

f

Violently

‰ J—. K J—. K ‰ —. K —. K

‰ j—— j—— ‰ —— ——

J

––––––.‰ ‰

J

––––––.Œ

p

p

Lightly, elegantly

‰ —K—HJ—K. ‰ —K. —K.

‰ j—— j—— ‰ —— ——

J

––––––.‰ ‰

J

––––––.Œ

&

R.H.

L.H.

277

‰ J—K˘ —K˘ —K˘ —K˘ —K˘

‰ j— — — — —

J

––––––.‰ Œ Œ

f

Violently

‰ J—K. J—K. ‰ —K. —K.

‰ j—— j—— ‰ —— ——

J

––––––######.‰ ‰

J

––––––######.Œ

P

P

Lightly, elegantly

‰ .— .— ‰ J—. K

‰ ..—— ‰ j——

J

––––––##### .

‰ ŒJ

––––––######.‰

‰ J—K. J—K. ‰ — —

‰ j—— j—— ‰ ——

J

––––––.‰ ‰

J

––––––.Œ

P

P

‰ J—K˘ —K˘ —K˘ —K˘ —K˘

‰ j— — — — —

J

––––––.

fi‰ Œ Œ

f

Violently

‰ J—K. J—K. ‰ — —

‰ j—— j—— ‰ ——

J

––––––bbb.‰ ‰

J

––––––.Œ

F

F‰ J—K. ‰ J—K. ‰ J—K.

‰ j—— ‰ j—— ‰ j——

J

––––––bbb.‰

J

––––––.‰

J

––––––bbbbbb.‰

&

45

45

45

44

44

44

43

43

43

R.H.

L.H.

284

‰ J—K. J—K. ‰ — —

‰ j—— j—— ‰ ——

J

––––––.‰ ‰

J

––––––.Œ

‰ J—K. ‰ J—K. J—K. ‰

‰ j—— ‰ j—— j— ‰

J

––––––.‰J

––––––.‰

J

––––––bbb.‰

J— ‰ J— ‰ Œ

J——————˘H‰

J——————˘H‰ Œ

––––––#n##nn

J

––––––bnbn ‰ Œ

f

Dramatically

‰ J—K. J—K. ‰ — —

‰ j—— j—— ‰ ——

J

––––––### .

fi‰ ‰

J

––––––.Œ

F

F‰ J—K. ‰ J—K. ‰ — — ‰ J—K. J—K. ‰

‰ j—— ‰ j—— ‰ j—— ‰ j—— j— ‰

J

––––––nbnnbb.‰

J

––––––.‰

J

––––––######.‰

J

––––––######.‰

J

––––––#n##nn.‰

— ‰ — ‰ J— ‰ Œ

——————˘H‰ ——————

˘H‰J——————˘H‰ Œ

––––––bnn

–––––– J

––––––bbbbbb ‰ Œ

f

Dramatically

&

43

43

43

42

42

42

44

44

44

45

45

45

43

43

43

R.H.

L.H.

290

‰ J—. KJ—. K‰ —. K—. K

‰ j—— j—— ‰ —— ——

J

––––––bbbbbb.‰ ‰ J

––––––b . Œ

F

F

‰ J—. K J—. K ‰

‰ j—— j—— ‰

J

––––––### .

fi

‰ J

––––––#####.‰

— ‰ — ‰ J— ‰ Œ

——————˘H‰ ——————

˘H‰J——————˘H‰ Œ

––––––nnn

––––––¬¬¬¬¬¬bbbbb

f

Dramatically

J— ‰ Œ ‰ J—.KJ—. K‰ Œ

J——————˘H‰ Œ ‰ j—— j—— ‰ Œ

J

––––––bb ‰ Œ J

––––––.‰ Œ Œ

F

FJ— ‰ J— ‰ J— ‰ ‰ J— Œ

J——————˘H‰

J——————˘H‰

J——————˘H‰ ‰

J——————˘HŒ


––––––bbb

......––––––nnn#nn ......

––––––bb

f

Dramatically

J— ‰ ‰ J— — —

J——————˘H‰ ‰

J——————˘H ——————

˘H ——————˘H

......––––––#n##nn

J

––––––######

––––––nnn

––––––######

&

44

44

44

42

42

42

46

46

46

R.H.

L.H.

√

296

∑

∑

∑

— ‰ — ‰ — ‰ — ‰

——————˘H ‰ ——————

˘H ‰ ——————˘H ‰ ——————

˘H ‰

––––––######

fi

––––––#####

––––––#nnn

––––––nnn#

f

Dramatically

J— ‰ J— ‰ J— ‰ Œ J— ‰3

J——————˘H‰

J——————˘H‰

J——————˘H‰ Œ

J——————˘H ‰

3––––––#n###n

––––––##n##

––––––nnn

––––––J

–––––– ‰3

J— ‰ J— ‰ J— ‰ Œ J— ‰3

J——————˘H‰

J——————˘H‰

J——————˘H‰ Œ

J——————˘H ‰

3––––––nnn

––––––nnn


––––––J

––––––bbbbb ‰

3

J— ‰ J— ‰ J— ‰3

J——————˘H ‰

J——————˘H ‰

J——————˘H ‰

3

––––––bbb ––––––

#nnn

––––––bbb

314

&

46

46

46

43

43

43

45

45

45

43

43

43

R.H.

L.H.

(√)

301

J— ‰ J— ‰ J— ‰ J— ‰ J— ‰ J— ‰ J— ‰ J— ‰ J— ‰3 3 3

J—————— ‰ J

—————— ‰J—————— ‰ J

—————— ‰ J—————— ‰

J—————— ‰

J—————— ‰ J

—————— ‰ J—————— ‰

3 3 3

––––––bbfi

––––––b ––––––

#n###n

––––––### ––––––

####

––––––#####n

––––––#####

––––––nn ––––––

3 3 3

As before: always play fast accented arpeggios from the 6th to the 1st string

J— ‰ J— ‰ J— ‰ J— ‰ J— ‰ J— ‰ J— ‰ J— ‰ J— ‰3 3 3

J—————— ‰ J

—————— ‰ J—————— ‰

J—————— ‰ J

—————— ‰ J—————— ‰

J—————— ‰ J

—————— ‰ J—————— ‰

3 3 3––––––bbbbb ––––––

# ––––––––––––#n##nn

––––––bnb ––––––#

# ––––––#n##nn ––––––#

###––––––n

3 3 3

loco

Œ J— ‰ Œ

ŒJ—————— ‰ Œ

––––––j––––––

##### ‰ Œ

J— ‰ J— ‰ J— ‰ J— ‰ ‰ J— Œ3

J—————— ‰ J

—————— ‰ J—————— ‰ J

—————— ‰ ‰ J—————— Œ

3

––––––––––––#####

––––––......–––––œ#####

j––––––nnbnn

––––––

3

&

43

43

42

42

43

43

42

42

44

44

42

42

88

88

R.H.

L.H.

305

J—————— ‰

———————————— Œ

––––––bbbbb ––––––

––––––nnn#nn

––––––

Play the arpeggios at the same position on the strings as before.

J—————— ‰ Œ

j––––––bbb ‰ Œ

J—————— ‰ J

—————— ‰ J—————— ‰ J

—————— ‰3

––––––bb ––––––# ––––––

bb ––––––#

3

———————————— ‰

J——————

––––––######

––––––####n

––––––––––––####

————————————

———————————— Œ Œ

––––––####

––––––––––––####

–––––– Œ Œ

J—————— ‰ J

—————— ‰ J—————— ‰

—————— ‰—————— ‰

3

––––––––––––####

––––––––––––####

––––––nbnnnb

3

J—————— ‰ J

—————— ‰


fi J

––––––bbbbb ‰

&

88

88

44

44

43

43

R.H.

L.H.

312

——————————————————

————————————

—————— J—————— ‰

––––––––––––######

––––––––––––bbbbbb

––––––nnnnnn


––––––

——————————————————

————————————

—————— J—————— ‰


––––––––––––


––––––######


––––––bbb

——————————————————

————————————

————————————

——————––––––### ––––––

######

––––––––––––######



––––––––––––nbnnbb

————————————

————————————

————————————

––––––###

fi

––––––######

––––––### ––––––

nnnnnb

––––––### ––––––

nnnnnb

&

88

88

89

89

43

43

R.H.

L.H.

316

————————————

————————————

————————————


––––––b ––––––

### ––––––

nnnnnb


––––––

————————————

————————————

————————————

––––––#####


––––––bbbnbb

––––––––––––nnn#nn

––––––######

J—————— ‰ J

—————— J—————— ‰ J

—————— Œ––––––bnb

J

––––––#n##nn

––––––#n###n

J

––––––bnn Œ

J—————— ‰ J

—————— J—————— ‰ J

—————— Œ––––––#n###n

J

––––––##n##

––––––nnn

J

––––––nnn Œ

—————— ‰——————

—————— ‰——————

—————— ‰ ——————––––––nnn

fi J

––––––nnn


J


––––––bbb

J


&

43

43

86

86

44

44

43

43

44

44

R.H.

L.H.

√

321

J—————— ‰

J—————— ‰ Œ

––––––#n##nn

J

––––––nnbn ‰ Œ

J—————— ‰

J—————— J

—————— ‰J——————

––––––#n##nn

J

––––––bnbn

––––––#####n

J

––––––#n###n

J—————— ‰

J—————— ‰

J—————— ‰ Œ

––––––nnn ––––––

bbbbb J

––––––bbbbbb ‰ Œ

J—————— ‰

J—————— ‰

J—————— ‰ Œ

––––––#nnn ––––––b

nbn J

––––––nbnnbb ‰ Œ

J—————— ‰

J—————— ‰ Œ

––––––bnbn J

––––––#n##nn ‰ Œ

J—————— ‰

J—————— ‰ Œ

––––––nnnn

fi J

––––––nnnnnb ‰ Œ

&

44

44

R.H.

L.H.

(√)

327

—————— ‰ —————— ‰ ŒJ—————— ‰

––––––nnnn J

––––––nnnnnn ‰ Œ

––––––######

J—————— ‰ Œ Œ

J—————— ‰

––––––######

–––––– Œ Œ––––––nnn#nn

––––––During the eight notes with an upward arrow, make an upward slide glissando from the notated position.

Œ Œ ŒJ—————— ‰

Œ Œ Œ––––––#n###n

––––––

∑

∑

J—————— ‰ Œ Ó

–––––––––––– Œ Ó

Œ ŒJ—————— ‰ Œ

Œfi

Œ––––––bbbbbb

–––––– Œ

∑

∑15

&

R.H.

L.H.

€

334

ŒJ—————— ‰ Ó

Œfi

......J

––––––nbnnbb ≈ Œ Œ

As before

∑

∑

ŒJ—————— ‰ Œ Œ

Œ......J

––––––bbbbbb ≈ Œ Œ

∑

∑

Œ ŒJ—————— ‰ Œ

Œ Œ......J

––––––nbnnnb ≈ Œ

∑

∑

Put the plectrum aside, take the (second) slide ∑

∑

&

46

46

46

44

44

44

46

46

46

R.H.

L.H.

√

341 ¬

¬

fi

¬

∑

Ï

Furiously

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¬¬

∑

.¬

.¬.¬

¬¬¬¬¬¬b ¬¬¬¬¬¬

### ¬¬¬¬¬¬

nnnb

.¬

.¬.¬

¬¬¬¬¬¬### ¬¬¬¬¬¬

######

No glissandos, unless glissando marks are shown

.¬

.¬.¬

¬¬¬¬¬¬#####

¬¬¬¬¬¬######

.¬

.¬.¬

......¬¬¬¬¬¬

¬

¬¬

∑

¬

¬¬

∑

Ï

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46

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46

44

44

44

46

46

46

R.H.

L.H.

(√)

349 .¬

.¬.¬

¬¬¬¬¬¬###

fi

¬¬¬¬¬¬######

¬¬¬¬¬¬###n

.¬

.¬.¬

¬¬¬¬¬¬######

¬¬¬¬¬¬nnnnnn

.¬

.¬.¬

¬¬¬¬¬¬b ¬¬¬¬¬¬n

nnn

¬

¬¬

¬¬¬¬¬¬bbbbbb

¬¬¬¬¬¬bb

¬

¬¬

∑

.¬

.¬.¬

¬¬¬¬¬¬bbbbbb

¬¬¬¬¬¬¬¬¬¬¬¬bbbb

.¬

.¬.¬

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fi

Ó

Ï

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45

46

46

46

45

45

45

46

46

46

44

44

44

R.H.

L.H.

356 .¬

.¬.¬

¬¬¬¬¬¬bbbbbb

¬¬¬¬¬¬bb

¬¬¬¬¬¬bbbb

loco

.¬

.¬.¬

¬¬¬¬¬¬bb ¬¬¬¬¬¬

bbbbb

.¬ ¬

.¬.¬¬¬


¬¬¬¬¬¬¬¬¬¬¬¬bnbb

.¬

.¬.¬

––––––nbnbn

––––––¬¬¬¬¬¬###

Œ Œ

¬ –

.¬.¬¬¬

––––––#####n

¬¬¬¬¬¬¬¬¬¬¬¬##

.¬

.¬.¬

––––––nnnnn

––––––¬¬¬¬¬¬ Œ Œ

.¬

.¬.¬

––––––nnnbn

fi

¬¬¬¬¬¬––––––####

¬¬¬¬¬¬

Ï

&

44

44

44

45

45

45

46

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46

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44

44

43

43

43

44

44

44

R.H.

L.H.

363 ¬

¬¬

––––––#n##nn

......¬¬¬¬¬¬

.¬ ¬

.¬.¬

¬¬

––––––nbnbn

¬¬¬¬¬¬

.¬

.¬.¬

......¬¬¬¬¬¬bbb

¬

¬¬

∑Let vibratePut the slide aside

¬

¬¬

∑

.¬

.¬.¬

......······

Mute the strings

¬

¬¬

wwwwww

Press the strings to the fretboard and let vibrate.

¬

¬¬

wwwwww16

&

46

46

46

45

45

45

44

44

44

46

46

46

42

42

42

46

46

46

R.H.

L.H.

371 ¬

¬¬

······#####

As before

.¬

.¬.¬

......wwwwww

As before

.¬ ¬

.¬.¬

¬¬

······######

‚‚‚‚‚‚

¬

¬¬

wwwwww

.¬

.¬.¬

......······######

¬

¬¬

˙̇̇˙̇̇

.¬

.¬.¬

......······###

Ï

&

44

44

44

R.H.

L.H.

378 .¬

.¬.¬

......······###

.¬.¬

.¬

––––––––––––––––––––––––

ƒ ––––––––––––––––––––––––

&

44

44

44

46

46

46

R.H.

L.H.

382

¬

––––––––––––

3

3

3

3

······###

f––––––––––––

3

3

3

3

¬

––––––––

F––––––––

¬

––––––

3

3

P––––––

3

3

&

46

46

46

44

44

44

46

46

46

44

44

44

R.H.

L.H.

388

.¬–

––

––

–......······###

p – – – – – – – ––

––

–π

Make counterclockwise rounding movement between strings I and VI and between 3 adjacent low string positions, in the notated rhythms.

– – – – – – – ––

––

–

.– .– .– .– .– .– .– .–

.–.–

.–.–

.– .– .– .– .– .– .– .–

.–.–

.–.–

&

44

44

44

R.H.

L.H.

393

j–‰ Œ Œ

–- HJ–K. ‰ Œ Œ ––······###

π–H<

H<

H<

H<

H<

H<

3 3

–– –– –– –– –– ––3 3

j– H< ‰ Œ Œ –- H

j–– ‰ Œ Œ ––

–H< –H< –H¯ –H¯ –H¯ –H¯3

3

–– –– –– –– –– ––3 3

J–H¯ ‰ Œ –H¯ ‰ –H¯ ‰

j–– ‰ Œ –– ‰ –– ‰

J–H¯ ‰ Œ Œ Œ

j–– ‰ Œ Œ Œ

∑U

∑U

∑UTake the slide

17

&

R.H.

L.H.

400

Jœ ‰ Œ Œ Œ

Jœœœœœœ K‰ Œ Œ Œ

¬¬¬¬¬¬###

i, FT.

π

Mysteriously

Jœ ‰ Œ Œ Œ

Jœœœœœœ K‰ Œ Œ Œ

¬¬¬¬¬¬bb

– Œ Œ Œ

– – Œ Œ Œ

¬¬¬¬¬¬###

p

– Œ Œ Œ

– – Œ Œ Œ

¬¬¬¬¬¬bb

¬

¬ ¬

¬¬¬¬¬¬bbb

.¬ Œ

.¬ .¬ Œ

––––––

∑

∑

&

42

42

42

44

44

44

42

42

42

46

46

46

R.H.

L.H.

407

– Œ Œ Œ

– – Œ Œ Œ

¬¬¬¬¬¬

– Œ Œ Œ

– – Œ Œ Œ¬¬¬¬¬¬bb

– .¬

¬ ¬¬¬¬¬¬¬b

– Œ Œ Œ

– – Œ Œ Œ

––––––bb

∑

∑

– Œ – Œ

– – Œ – – Œ¬¬¬¬¬¬#

P

¬

¬ ¬

¬¬¬¬¬¬####

∑

∑

¬¬¬¬¬¬b

&

46

46

46

44

44

44

43

43

43

42

42

42

44

44

44

R.H.

L.H.

415

– Œ – Œ – Œ

– – Œ – – Œ – – Œ

¬¬¬¬¬¬¬¬¬¬¬¬#####

¬¬¬¬¬¬##

P

¬

¬ ¬F

J– ‰ Œ J– ‰ Œ

J––––––. K‰ Œ

J––––––. H‰ Œ

¬¬¬¬¬¬¬¬¬¬¬¬###

FJ– ‰ ‰ J– Œ

J––––––. K ‰ ‰

J––––––. H Œ

......––––––# ......

––––––#####

J– ‰ ‰ J– Œ

J––––––. K ‰ ‰

J––––––. H Œ

......––––––bbbbb

......––––––bbb

;J– ‰ J– ‰

J––––––. K ‰

J––––––. H‰

––––––––––––

q. = q = 109:

p

&

44

44

44

46

46

46

R.H.

L.H.

421

J– ‰ Œ Œ Œ

J––––––. K ‰ Œ Œ Œ

––––––#####

–––––œ#####

––––––nnnnnb

––––––nn ––––––

### ––––––

3 3

∑

∑

––––––bbb

––––––n ––––––

––––––#n###n

––––––n ––––––#

##

––––––######

––––––###

––––––##––––––###


–––––œ###

Take the plectrum

∑

∑

––––––bnnb ––––––

bbbbbb

––––––––––––bbbbb

––––––bb


––––––––––––bb ––––––

––––––bbb ––––––

––––––bb ––––––

––––––bb ––––––

––––––bbb ––––––

––––––bb

3 3 3 3 3 3

Magically

&

R.H.

L.H.

424

J— ‰ Œ Œ J— ‰ Œ Œ

––––––bb


––––––––––––bbb ––––––

––––––bb ––––––

––––––––––––

––––––bbb ––––––

––––––bb ––––––

––––––bb ––––––

––––––bbb ––––––

––––––bb

3 3 3 3 3 3

p

j— ‰ ‰ J— Œ j— ‰ Œ Œ

––––––bb


––––––––––––bbb ––––––

––––––bb ––––––

––––––––––––

––––––bbb ––––––

# ––––––nn ––––––

––––––––––––

––––––bnb

––––––––––––nn

3 3 3 3 3 3

18

&

42

42

44

44

R.H.

L.H.

426

∑

––––––# ––––––

bb ––––––––––––bbbbbb

––––––––––––bb ––––––

––––––bb ––––––


––––––#n###n

––––––nn ––––––#

# ––––––bbbbbb

––––––––––––nnnnnn


––––––bnbnb

3 3 3 3 33

∑

––––––nn ––––––

bbb––––––––––––––––––––––––

3 3

J— ‰ Œ J— ‰ Œ

––––––nn ––––––

bbb––––––––––––––––––––––––––––––nn ––––––

––––––––––––––––––––––––

3 3 3 3

p

&

42

42

R.H.

L.H.

429

— — ‰ — — ‰ — ‰

––––––nn ––––––

bbb––––––––––––––––––––––––

––––––######

––––––––––––## ––––––

––––––## ––––––

3 3 3 3

j— ‰ Œ Œ Œ

––––––nn ––––––

bbbbbb

––––––––––––bb ––––––

––––––bb ––––––n

n ––––––bb ––––––


––––––######

––––––nn

3 3 3 3

∑

––––––######

––––––nn ––––––#

# ––––––nbnbb

––––––––––––#n##nn


––––––nnbnn

––––––#n##nn

––œ–––#####n

––––––nnnnnb

––––––n

3 3 3 3

&

42

42

44

44

R.H.

L.H.

432

∑––––––#####

––––––––––––## ––––––

––––––## ––––––

3 3

j— ‰ Œ J— ‰ Œ––––––#####

––––––––––––## ––––––

––––––### ––––––

––––––### ––––––

––––––### ––––––

––––––### ––––––

3 3 3 3

p — ‰ — ‰ Œ Œ––––––#####

––––––––––––## ––––––

––––––## ––––––

––––––## ––––––

––––––## ––––––

bbbbb

––––––nn ––––––

3 3 3 3

&

42

42

44

44

R.H.

L.H.

435

— — ‰ — — ‰ — ‰

––––––nn ––––––

bbbb

––––––nn ––––––

bbb ––––––n

n ––––––bb ––––––n

n ––––––bb ––––––n

n ––––––bb ––––––n

n ––––––bb

3 3 3 3

Pj— ‰ Œ

––––––nn ––––––

bbbb

––––––nn ––––––

nnn#n

––––––######

––––––nn

3 3

— — ‰ — J— ‰ Œ

––––––######

––––––# ––––––#

# ––––––nn ––––––

### ––––––n

n ––––––## ––––––n

n ––––––## ––––––b

nnb ––––––n

n ––––––nn

3 3 3 3

P

&

43

43

R.H.

L.H.

438

— — ‰ — J— ‰ Œ

––––––nn# ––––––b

––––––nn ––––––

nnb ––––––n

n ––––––nn ––––––n

n ––––––nn ––––––n

n ––––––bbbbbb

––––––nn ––––––b

b

3 3 3 3

J—> ‰ — — ‰ j—––––––bb


––––––––––––bb ––––––


––––––––––––bbbbbb

––––––––––––bbbbbb

FJ— ‰ — — ‰ j—––––––######

––––––# ––––––

––––––––––––––––––––––––––––––––––––

––––––

&

86

86

44

44

45

45

R.H.

L.H.

441

J— ‰ — — ‰ j—––––––#####

––––––––––––

––––––––––––

––––––––––––

––––––––––––

––––––

— ‰ — — ‰ —......¬¬¬¬¬¬#####P

— ‰ — — ‰ — — ‰ — — ‰ — j— ‰ Œ Óπ

&

45

45

45

44

44

44

R.H.

L.H.

√ €

446

Œ Œ J— ‰ Œ Œ

Œ ŒJ——————H‰ Œ Œ

¬¬¬¬¬¬

F

Very magically, like voices from the space

Œ Œ j—‰ Œ Œ

Œ ŒJ——————H‰ Œ Œ

¬¬¬¬¬¬b

loco

FŒ Œ Œ j—

‰ Œ

Œ Œ ŒJ——————H‰ Œ

¬¬¬¬¬¬

F∑

∑

¬¬¬¬¬¬bb

∑

∑

J

––––––b

‰fi

Œ Ó

Put the plectrum aside, move the slide to the right hand

∑U

∑U

∑U

19

&

R.H.

L.H.

452

– Œ – Œ

– – Œ – – Œ

ŒJœœœœœœH. ‰ Œ

JœœœœœœH. ‰

¥¥¥¥¥¥###

1, FN.

Lively, joyously

Sim.

F

F

Play the barré stop with the side of your palm.

Dryly, no pitches or harmonics

.J– ≈ .J– ≈ – Œ

.– .– ≈ .– .– ≈ – – Œ

‰ œœœœœœH. ‰ œœœœœœH

. ŒJœœœœœœH. ‰

– Œ – Œ

– – Œ – – Œ

ŒJœœœœœœH. ‰ Œ

JœœœœœœH. ‰

–‰ .J– ≈ ‰ .J– ≈

– – ‰ .– .– ≈ ‰ .– .– ≈

ŒJœœœœœœH. ‰ ‰

JœœœœœœH. Œ

.– ‰ Œ Œ

.– .– ‰ Œ Œ

Œ ‰ jœœœœH. œœœœH. œœœœH. œœœœH. œœœœH.p

&

R.H.

L.H.

457

∑

∑

jœœœœ H.‰ Œ Œ Œ

¥¥¥¥¥¥###

J– ‰ Œ J– ‰ Œ

j––– K. ‰ Œ J–––K. ‰ Œ

Œ jœœœœH. ‰ Œ jœœœœH. ‰

P

p

– ‰ – ‰ J– ‰ Œ

–––K. ‰–––K. ‰ j––– K. ‰ Œ

‰ œœœœH. ‰ œœœœH. ŒjœœœœH. ‰

J– ‰ Œ J– Œ ‰

j––– K. ‰ Œ J––– K. ‰ Œ

Œ jœœœœH. ‰ Œ jœœœœH. ‰

– – ‰ – – ‰ – ‰

–––K. –––K. ‰ –––K. –––K. ‰–––K. ‰

Œ jœœœœH. ‰ Œ Œ

j– ‰ Œ Œ Œ

j–––– K.‰ Œ Œ Œ

Œ ‰ jœœœH. œœœ

H. œœœ

H. œœœ

H. œœœ

H.π

∑

∑

jœœœ H.‰ Œ Œ Œ

&

47

47

47

47

47

44

44

44

44

44

R.H.

L.H.

464

J–K. ‰ Œ J–K. ‰ Œ

j–– ‰ Œj–– ‰ Œ

Œ jœK. ‰ Œ jœK. ‰

Œ jœ ‰ Œ jœ ‰¥¥¥¥¥¥###

p

p

T, FN. *

* Rub the 6. string with the nail of your thumb while holding the barré stop with the side of your palm.

–K. ‰ –K. ‰ J–K. ‰ Œ

–– ‰ –– ‰ j–– ‰ Œ

‰ œK. ‰ œK. Œ jœK. ‰

‰ œ ‰ œ Œ jœ ‰

J–K. ‰ Œ J–K. ‰ Œ

j–– ‰ Œj–– ‰ Œ

Œ jœK. ‰ Œ jœK. ‰

Œ jœ ‰ Œ jœ ‰

–K. –K. ‰ –K. –K. ‰ –K. ‰

–– –– ‰ –– –– ‰ –– ‰

∑

∑

j– K. ‰ Œ Œ Œ

j–– ‰ Œ Œ Œ

Œ . jœK. œK. œK. œK. œK.

Œ . jœ œ œ œ œ

p

∑

∑

œK. ‰ ‰ œK. œK. œK. œK. œK.

œ ‰ ‰ œ œ œ œ œ

Put the slide aside, take the plectrum

∑

∑

Œ ‰ jœK. œK. œK. jœK. ‰ Ó Œ

Œ ‰ jœ œ œ jœ ‰ Ó Œ

&

44

44

44

42

42

42

44

44

44

42

42

42

43

43

43

42

42

42

43

43

43

R.H.

L.H.

471

J—. ‰ Œ J—

. ‰ Œ

j——. ‰ Œ J——. ‰ Œ

¥¥¥¥¥¥###

p

Joyously, innocently

Touch the pointed strings shortly with the plectrum, no rubbing until bar 481.

J—. ‰ J—. ‰

j——. ‰ J——. ‰

J—. ‰ Œ J—

.‰ Œ

j——. ‰ Œ J——. ‰ Œ

PJ—. ‰ J—. ‰

j——. ‰ J——. ‰

—. —.‰ J—. J—. ‰

——. ——. ‰ J——.J——. ‰

FJ—. ‰ J—

. ‰

J——. ‰ J——

. ‰

—. —.‰ J—.J—.‰

——. ——. ‰ J——.J——. ‰

f

20

&

86

86

86

86

42

42

42

42

44

44

44

44

R.H.

L.H.

478

—. —. ‰ J—.

J—. ‰

——. ——. ‰ J——.

J——. ‰

∑

¥¥¥¥¥¥###

—. ‰ —. —. ‰ —.

——. ‰ ——. ——. ‰ ——.

∑

—. ‰ —. —. ‰ —.

——. ‰ ——. ——. ‰ ——.

∑

FJ—. ‰ .j— K

>≈

j——. ‰ ..j—— ≈

∑

∑

∑

Œ Œ fi fi¥¥¥¥¥¥###

Put the plectrum aside

Put your whole palm down without changing the fret position of the side of your palm.

S 43

43

44

44

R.H.

L.H.

483

∑

jfi .fijfi

.fi

In a brave tango mood

ƒ

∑

fi fi fi fi jfi .fi

∑

jfi

.fi jfi .fi

∑

fi fi fi fi fi fi fi fi

Œ . Jœ. . . . .

jfi .fi fi fi

P

m, F.J.

Play in the middle of the side/rib, moving gradually from the top position to the center.

Jœ. ‰ Œ Œ S

B

T

fi fi fi

p

SB

T 44

44

42

42

44

44

42

42

44

44

R.H.

L.H.

489

∑

jfi

.fi jfi .fiƒ

∑

fi fi fi fi

∑


Œ . Jœ. . . . .

jfi .fi fi fi

m, F.J.

Play at the edge of the front, moving graduallyfrom the top position towards the center

PJœ. ‰ Œ

fi

p∑


SB

T 42

42

44

44

R.H.

L.H.

495

Œ . Jœ. . . . .

jfi .fi fi fi

m, F.J.

Play in the middle of the front, moving gradually from the top position to the center.

m, FT.

PJœ. ‰ Œ

fi fi

p∑

fi fi fi fi

Œ ‰ Jœ. . œ. œ. œ.

jfi .fi fi fi

m, FT.

pœ. ‰ ‰ œ. œ. œ. œ. œ.

fi

ππ

SB

T

R.H.

L.H.

500

Œ ‰ Jœ

Œ ‰Jœœœœœœ. œœœœœœ

. œœœœœœ. œœœœœœ

. œœœœœœ.

Jœ. ‰ Œ Œ Œ

fi

i, FG.

π

œ ‰ ‰ œ J ‰ J ‰ J ‰3

œœœœœœ. ‰ ‰ œœœœœœ

.Jœœœœœœ. ‰

Jœœœœœœ. ‰

Jœœœœœœ. ‰

3P P

Jœ ‰ Œ Jœ ‰ œ ‰ œ ‰3

Jœœœœœœ. ‰ Œ

Jœœœœœœ. ‰ œœœœœœ

. ‰ œœœœœœ. ‰

3π π

Darkly, mysteriously

œ ‰ ‰ œ Ó

œœœœœœ. ‰ ‰ œœœœœœ

. Ó

∑

∑

Take the plectrum

21

R.H.

L.H.

505

∑

∑

fi

.±> Œ—}

.± ŒÏ

Violently, screechingly, screamingly

.±> Œ—}

.± Œ

—> Œ —> Œ—} —}

— Œ — Œ

R.H.

L.H.

509

±>

±

fi

Ï

Play a very slow, steady and smooth glissando. Let the individual wires ring. When reaching the frets, do not press the string onto them, as this would produce unwanted accurate pitches. Keep strictly in the tempo!

± ± ± ± ±

j— ‰ Œ Œ Œ

j— ‰ Œ Œ Œ

fi fi fi fi

Put the plectrum between your lips

p

œ‰ œ ‰ Œ Œ

œœœœœœH. ‰ œœœœœœK

. ‰ Œ Œi, FN. i, FT.

p

∑U

∑U

22

Helsinki, October 27th 2016Lauri Kilpiö

Chants de joie, fureur et danger 31.3.2019

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