Contenido / Contents · Contenido / Contents 1) Abecedario para Guitarra / Alphabet for Guitar ... Only the upper voice, one octave higher and adding another sound played

Contenido / Contents

1) Abecedario para Guitarra / Alphabet for Guitar - Páginas / Pages 1-64

2) Sonatina Málaga - Páginas / Pages 65-74

(2 Guitarras / 2 Guitar)

3) Quinteto con Guitarra / Quintet with Guitar – Páginas / Pages 75-87

CURRICULUM VITAE

Rafael Diaz nació en Málaga en 1943 y en su Conservatorio hizo la carrera de Piano y Clarinete, posteriormente pasó al Conservatorio de Sevilla donde realizó con Manuel Castillo la carrera de Composición obteniendo Premio Fin de Carrera en Composición y con Manuel Galduf la carrera de Dirección de Orquesta.

El Ministerio de Cultura le becó para hacer cursos con Carmelo Bernaola y Rodolfo Halffter en Granada y Santiago de Compostela, posteriormente realizó un curso con Luigi Nono y estudió la Mùsica Electroacústica con Horacio Vaggione, Grabriel Brncic y Adolfo Nuñez.

En 1985 funda el Taller de Música Cotemporánea de la Universidad de Málaga con el que realiza actuaciones en toda España y ha creado Ballets, Audiovisuales, Obras Electroacústicas, programas de Radio y grabado C.D.

Ha recibido encargos del Ministerio de Cultura y la Junta de Andalucía.

Posee un laboratorio electroacústico donde experimenta con las últimas tecnologías.

Sus obras se han interpretado en España, Francia, Holanda, Italia, Reino Unido,Potugal, Méjico, Brasil, Rumanía, Grecia etc.

Agradezco al Centro de ediciones de la Exma. Diputación Provincial de Málaga la publicación de este libro.

Rafael Díaz was born in Málaga in 1943. At the consevatory, he got degrees in both piano and clarinet. Later, he entered the conservatory of Seville, where he studied composition with Manuel Castillo, graduating with First Prize, and orchestra conducting with Manuel Galduf.

He got grants from the Ministry of Culture to attend courses given by Carmelo Bernaola and Rodolfo Halffter in Granada and Santiago de Compostela. Later, he attended a course given by Luigi Nono and studied electroacoustic music with Horacio Vaggione, Gabriel Brncic and Adolfo Núñez

In 1985 he founded the “Taller de Música Contemporánea de la Universidad de ––Málaga ” (“The Malaga University Contemporary Music Workshop”) with which he has performed throughout Spain, created ballets, audiovisual and electroacoustic works, radio programs, and made CD recordings

He has got commissions from the Ministry of Culture and the Andalusian Government.

He has his own electroacoustic studio where he experiments with state-of-the-art technology. His works have been performed in Spain, France, Holland, Italy, U.K.,Portugal, Mexico, Brazil, Romania, Greece etc.

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( non arpgg. )

X

pmi Six-note non-arpeggiated chord. The three higher notes will be played

with the right hand, while fingers 1, 2, 3 of the left hand will play the three lower ones by pulling the strings.

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with the finger and then place the tip of the tuning fork on the string (between the hole and the bridge) moving it along the string from left to right and letting it bounce, so that a quasi electroacoustic sonority is achieved.

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III

gliss.

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Glissando done with the nails of both the thumb and the index (or middle) finger of

the right hand on the 6th string, moving from the first fret to the sound hole.

A mordent attacked with Bartok pizzicato followed by a harmonic, obtained when the string is up after bouncing off the fingerboard.

Glissando of harmonics while strumming from the indicated fret towards the higher ones.

Extend the left hand's index finger on the indicated position (capotasto) and perform a descending glissando on all the strings before the arpeggio is finished.

A radical not progressive TEMPO shift (left to the performer's criterion, yet not improvised but exhaustively structured).

Gliss attacked with a Bartok pizzicato.

IV

XII

IX

Tremolo of the two notes, the first one normal and the second one harmonic.

Ta.

"Tambora" means a percussion with the right hand's thumb directly on the bridge and letting the chord resonate.

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A trill of open strings and capotasto on I. The strings of capotasto I should not touch the fingerboard (as explained above, in a former procedure).

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A continuous strumming of open strings for the duration indicated by the line; when the new passage begins, the notes in the parenthesis are suppressed, being substituted by the new ones, which are to be performed with a glissando.�

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ma. des.

The trill should be performed with the same pitch of the mordent, be it before or after the note, in the latter case you should begin with the main note.

(letter Y)

Attack this passage fast and slow down gradually. If the figure appears reversed you should begin slow and accelerate progressively.

Normal sound / Playing with a plectrum / Playing with the hand.

From the F# position, pull the string (once) to attain a quarter tone higher (damp the string to avoid the sound when it is released) / play the note with the string pulled and release it to the regular sound, without plucking the second note.

ma . sin.

N./ Ple. / Ma.

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A combination of the right hand playing with plectrum and the left hand which simultaneously stops the upper notes and plucks the lower ones with the index finger, as fast as possible.

(supplire)

ma. sin..

At the same time, perform two arpeggios with the index fingers of both hands, the right one from high to low and the left one from low to high, not to fast so that the double arpeggio can be clearly perceived.

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Tremolo with the fingers 1 and 2 of the left hand ¨1, 2, 3?

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Trill plus tremolo played in phase, that is, symmetrical and always with the mordent's notes, whether they appear before or after.

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V

Out of phase / in phase.

With the thumb.

To supply.

Glissando of harmonics.

Slowing down the trill.

From less to more (or the opposite).

Note plucked with Bartok pizzicato then maintaining the sound with molto vibrato.

Sempre Plectro e corde vuote.

Sempre mano destra / sinistra

Sempre cuorde vuote / premere sempre le corde

out of phase / in phase.

Sempre mano destra / sinistra.

Sempre cuorde vuote / premere sempre le corde.

Glisado dármonici.

rit. il trillo.

col dito pollice.

ripetere ad lib. e sempre piú veloce.

supplire.

de meno----------a -----------piú.

Solo mano sinistra.

Always the right hand / left hand.

Only the left hand.

Always open strings / stopped strings.

Always plectrum and open strings.

Repeat freely and always at higher speed.

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S. Tas._ _ _ _ _ _ S. Pont.

(in phase)Trill plus tremolo. In this piece both things will be in phase.S.Tas. _ _ _ _ _ S.Pont.: Play from the fingerboard to the bridge.

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Y

In this piece fermatas will be measured, so that the adjacent note will last double of its value.

This piece is always between positions XII to XIX / Harmonic on

position XI is written where it is produced, not as it sounds.

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X

VII

Open piece.

The goal is to make a set of timbral variations, by means of the following procedures.

The score can be read either directly or, when reaching the central B, continuing with

the crossing staff. It will be repeated ad lib. with the desired variations. The music

will be adapted to the chosen procedures.

module 1) Both voices in pizzicato, but the lower one with an anticipation mordent

added.

module 2) the upper voice with octavated harmonics and the second one with real

sound performed with the left hand, stopping with finger 1 and plucking with fingers 2

or 3.

module 3) Both voices in Bart¢k pizicato, the second with an anticipation mordent

added.

module 4) Only the lower voice, and after playing the note, pulling the string to

obtain a quarter-tone higher (always try to play on the lowest string possible).

module 5) The upper voice played with a plectrum adding a tremolo and the lower

voice played with the left hand.

module 6) The upper voice normal and the lower one playing percussions on the

body.

module 7) Only the lower voice, and with the procedure explained in letter G (bar

number 3).

module 8) Only the upper voice, one octave higher and adding another sound played

inside and with the procedure explained in letter H (bar number 28).

Electronic processing can be applied ad lib. to this piece.

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�� A very vibrated note to be executed with an exaggerated movement of the left hand, so that it affects the notes of the upper voice, adding a "semitoned" sonority to them (it will be necessary to make tests until the right sonority is found).

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It is possible to add electronics in pieces L, S, X, ¨ ? (for a future letter).Some effects are specified, although different ones can be used, or any form of manipulation or processing that the performer may consider appropriate, with the only requirement of achieving an artistic deed.For the effects here suggested, the following equipment is needed: one or more microphones, a multi-effect unit, a mixing board, an amplifier, two or more loudspeakers, and a return monitor.The guitar sound will be picked by the mic(s) and sent to the mixing board, where it will be processed, the result will come out through the loudspeakers, facing the audience, and will return to the performer through the monitor, so that he or she can follow the resulting sound.With these procedures, these pieces can present infinite variations, wanted and desired by the author.

The technical revision of this work was undertaken by guitarist Carlos Cuellar. The work is dedicated with much love to my wife and to my daughter, but to any person which may consider it of interest, I send a brotherly embrace for ever.

Resultado de la afinación de la 4ª cuerda en RE

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l.v.0

0

pp

5

0

f

* (out of phase)

* (desfasado)

pp f

C.

XII

0

S. Pont.

0

f

0

f

9 00

f

0

f

0

0

f

0

f

0

0

0

0

13 Ord.

pp f

00

pp

3

0

0

f

16 S. Pont. 0

Ord.

pp

0

delicatamente

0

9

19

S. Pont.

f

pp

00

gliss.

000

00

0

Ord.

0

C.

0

00

pp pp pp f

25

C.

f

C.XII

0 0

C.

f

pp

3

0

f

0

pp

29

3

0

S. Pont.

0

0

Ord. C.

Rasg.secco

f pp

f

IV S. Pont.

XII

sfz

33

0

0

3

0

0

0

XII

C.

V

0

pp

C.

f

V

pp f

38

0

Ord.

IX

3

C. 0

secco

f pp

pp f f

10

1 ca q = 40

F

6a, RE

Sempre sempre S. Pont.

f

0

XII

Sempre , ma grave

p

7

Ord.

7 3

0

13

Ord.

0

0 Ord.

0

7 3

19rit.

7

3

0

0

0

11

1 Vivo

G

Lento

4a, RE 6a, RE

Sólo mano sinistraSolo mano izquierda

XIII XI

p 0 0 0

10

0 0 0

10

f

0

Vivo5

Lento

XI

XII XIII

p

0 0 0

10

0 0 0 0

10

0

f

Vivo9 Lento

Vivo

XII XI XII

p

0 0 0

10

0 0 0

10

f

p

0 0 0 0 0

10

13

Lento

Vivo

XII VII

XIII XII XI

0 0 0 0

10

f

p

0 0 0 0 0

10

12

17

Lento

Vivo

X

X

VII

0 0 0

10

f

p

0 0 0 0

10

21

Lento

Vivo

XI X

IX

f

0 0 0

10

f

p

0 0 0

10

25

Lento

XIII XI VII XI

VII

0 0 0

10

0 0 0

10

f

Vivo30 rit.

p

0 0 0

10

0 0 0

10

0

I

III

IV

V

11

13

Lento33

Vivo

XII XI XII

f

0

p

0 0 0 0

10

36

0 0 0 0

10

0

0 0 0

10

0 0 0

10

39

0 0 0 0

10

0 0 0 0

10

0 0 0

10

Lento42

Vivo

XI X

XIII VII

p

0 0 0

100 0 0

10

45 rit.

f

XI

0 0

10

0

V

IV

III

0

11

Lento47

fXII 10

f

0 0 0 0

10

14

1ca q = 100

H

Sempre

Rasg. più a -------------- meno -----------------più ad lib.

6a, RE

Rasg.

gliss.

gliss.

00

0

0

5

Rasg. de más ---------- menos -------------- más ad lib.

gliss.

gliss.

000

0

9

secco

0

000

14

0

gliss.

gliss.

gliss.

gliss.

f

18

Ord.

0 gliss.

0

gliss.

0gliss.

secco

0

0

0

15

21

0

0

0

0

gliss.

gliss.

gliss.

gliss.

24

gliss. gliss. gliss.

Ord.

26

XII

Arm. gliss. gliss. gliss. gliss.

28

gliss.

f 5

000

0

31

gliss.

gliss.

* meno --------------a -----------------------più

* de menos -------a -----------------------más

16

1

Vivo

I

Sempre

6a, MI

sfz

gliss.

0 XII

2

0

V

3

IX

4

0 XII

IV

17

5

Poco piu lento

p

XII

XII

XII

IX

0 V

IX 0

VIII

IX XII

6IX

(posible)

XII

0

0

XII

0

VII

V

IX

7 XII 0

IV

0

0

XII

0

0

XII

sfz

Rasg. + gliss. d´ armonici

Rasg. con gliss. de armónicos

IV

IX

8

Vivo

0

Sempre

1

sfz

IX gliss.

18

9

II

VII

10

I

VIII

11

12V

X

III

IV

I

19

1

J

5a, MI6a, MI

l.v.

Ord.

ca q = 804 q = X q = X

ff

0 0

Sempre

Sempre

pp

pp0

q = X6 q = X

pp

q = X q = X 8 q = X

ff

20

q = X q = X 10 q = X

ff

pp

q = X q = X 12 q = X q = X q = X

ff

pp

ff

14 q = X q = X

Ord.

ff

pp

ca q = 5017

ca q = 80

XIImano sinistra

XI XII XIII

sfz

pp

21

q = X21 q = X

q = X q = X23 q = X

q = X25 q = X q = X

ff

pp

q = X28 q = X

ff

5

pp

q = X q = X30

molto rit.

ff pp

ff pp

ff

22

1Calmo

K

5a, LA 6a, RE

0m 4 m

123

(non arpgg.)

0

00 3

21

00

pi

123

(non arpgg.)pi

7

mano izquierda mano sinistra

Sempre ma intenso

p

Arm.

14

Rasg.

3 7 (non arpgg.) 3

0

7

16

f p

f p

Rasg.

f

3

p

0

7

3

0

6

23

18

D.

D.

D.

D.

3

00

7

23

Sempref

Arm. D.

D.

28

Arm.

3

D.

0

6

3

D.

32

Rasg.

3

0

7

3

0

7

34

Rasg.

3

0

6

D.

24

Diapasón, percutirlo y después posarlo sobre la caja

*

*

1

ca q = 40

L

p

6a, RE

XII

ELECTRONICA / ELECTRONIC

V

Early Refl.

ad lib.

VII

IX

2ca q = 60

0

sfz

X mano sinistra

XI

XII

Reverse Gate

IX

3

ca q = 88

p

3

3

3 3

3 3

Pan. + Reverb.

3 3 3 3 3 0

3

25

4 Vivo

f

00

Reverb. Small

3

00

00

0 0

26

5

ca q = 72

Reverb. Large

Ta.

IX Ta.

VII

Ta.

V

Ta.

II

VII

f p f p f p f p

6

ca q = 96

0

0

Granulations

0

0 0

0

f

7

Lento

XII

*

IV

VII

Pitch Change

V

VIII

* col dito pollice / con el dedo pulgar

VII

V

III

I

f

(simile)

8Lento

IV

gliss.

Reverb. Large

f

27

1ca q = 96

M

ca q = 132 ca q = 108 rit.molto

6a, MI

Sempre S. Pont.

0

f

0 0 0 0 (simile)

2ca q = 60 accel.molto rit.molto ca q = 128

0

(simile)

p

f

3ca q = 40 ca q = 104 rit.molto

4ca q = 116 ca q = 48 accel.molto

pp

f

0

pp

0

f

(simile)

28

ca q = 40 ca q = 72 rit.molto 5

V

pp

0

f

(simile)

6

ca q = 138 accel.molto

0

pp

(simile)

7ca q = 112 ca q = 52 ca q = 120

f

pp

8ca q = 60 accel.molto

pVII

29

9

ca q = 54 ca q = 50 ca q = 120

delicatamente XII

0

XII

pp

f

0

(simile)

ca q = 50

ca q = 132

ca q = 96 rit.molto

ca q = 80

10

Arm.

11

0

f

12

ca q = 108 ca q = 40 accel.molto

3

3

IX

pp

0

p

13

ca q = 40 ca q = 60

7

f

0

30

1

Vivo

N

6a, MI b

0

0

0

0

0

Sempre f

2

Corde vuote alzare il dito / cuerdas al aire levantar el dedoetc.

0

0

0

etc.

0

0 0

0

0

0

00

3

0

0

0

0 0

0 0

4

0 0 0

0

0

00

0

5

0

0

0

0

0

0

00 0

0

31

6

0

0

0

0

0

7

0

0

0 0 0 0

8

0 0

00

0

0 0 0

9

0

0 0

0 0

0 0

0

0

10

0

0

0

0

0

0

32

11

0

0

00

12

0

00

0 00

0

13

0 0 0 0

00

14

Ord.

0

0

0

0

secco

0

15

Ord.

00

33

1

ca q = 60

Ñ

6a, RE

S. Pont.

5

0

0

000

(non arpgg.)

IX C.

5

Sempre sonoro

(non arpgg.)

Rasg. secco Ta.

Ord.

0

0

Ord.

gliss

.

9

0

Rasg. lento

13

C. Ord. - - - - - - - - - - - - S. Pont. Ord.

5

000

Rasg.

00

0

3 3 3 3 3

16

XII

XI X

0

1

20

S. Pont.

Ord.

N.

S. Pont.

5

0

34

25

Ord.Rasg. secco C.

0

3 3

3 3

0

28

0

0

Ord.

S. Pont.

0

Ord.- - - -

S.Pont. Ord.

32

Ord.

0

Rasg. lento

36

IX C.

0

40

C.

0

01

5 (non arpgg.)

Ta.

44

S. Pont.

Rasg. secco

S. Pont.

Ord.

Ord.0

Ta.

35

1

ca h = 30

O

Sempre

6a, MI b

Plectro, pizz Sempre

Ord.

pizz.

6 (simile)

6

6

6

6

6

4

f Siempre Plectro, pizz Siempre

6

6

00

6

6

0

6 6

7

0

6

6

0

6

6

6

0

6

10

6

6

6

6

6

6

13

6

6

6

6

6

lunga

Attaccagliss.

36

ca h = 5016

6a, RE

6

6

6

6

6

6

19

0

f

6

6

0

6

6

0

6 6

22

0

6

6

0

6

6

0

6

0

6

25

6

6

6

6

6

28

6

6

6

0

6

6

37

1

P

ca q = 60

6a, MI b

pp

123

(non arpgg.)

sfz

mano destra

mano sinistra

mano derecha

Plectro

pp sfz

XII

2

mano

mano izquierda

Ple.IV

pp sfz

0

sfz

sfz

ma. sin.

0

pp

1 1 1 0

00

0

123sfz

3

Ple.

ma. sin.

Ple.

0

pp

1 0 0

ma. sin. 0

4

(non arpgg.)

pp

XII

Ple.

ma. pp

0 00

mano des.

ma. sin.

sfz

ma.

pp

0

00

ma.

Ple.

6

Senza tempo

Ple. repete ad lib. / repite ad lib.

pp

..

ma. sin.

..0f

0 00

0

38

7

repete ad lib.

0 0

00

8

A tempo

f

(non arpgg.)

pp

ma. des.

Ple.

000

XII

9

Senza tempo

ma. sin.sfz

Ple.

..

..repete ad lib.

0 0 0

0

10

pp

repete ad lib.

f

00 0 0

11A tempo

f

sfz

Ple.

ma.

12

pp pp sfz

ma. sin.

Ple.

ma.

gliss.

13

pp sfz

pp sfz

VII

f

Ple. gliss.

39

1

ca q = 80

Q

f Sempre

6a, RE

IV

pp

Plectro /

Siempre

Plectro

Sempre

Solo mano sinistra

Solo mano izquierda

6

f

f

pp

0

pp

sfz

0 0

0

11

fpp f

pp

f

0

0

16

V

ff

0

40

20

XII

00

0

pp

24

pp

f

pp f

pp

0

tenuto29

3

pp 3

pp

3

pp

0

sfz

f 0

f

sfz

0

sfz

f

A tempo33

XII

pp

0

f

00

0 0 0

sfz

pp

37

V

0

f

41

1lento

R

0

pizz.

6a, RE

* I

* Premere sempre le corde* Siempre cuerdas pisadas

Rasg. lento 0

3 3

0

f

pizz.

pp

3

3

3

3

Arm.

f

2

0

3 3 (posible.)

* I

Rasg. lento

pp

0

3

3

0

3 3

3

3 pp (posible)

pizz.

f

Ord.

3

3 3

Arm.

3

3

Rasg.

**(supplire) **(suplir)

Rasg. lento

0

(gliss.)

3 3 3 3pp

4

3 3

I

Rasg.

3

3

pizz.

5

pp

XII

Rasg. lento

f 3 30

pp (posible)

f3

3

Arm.

pp

42

6

0

(gliss.)

Rasg.

(supplire)

0

3 3

pp f

3 3 3 3

pp

f

3 3

7

XII

Rasg. lento

I

Rasg.

pp f

pizz. Arm.

8

0

Arm. 0

3 3

9

pp

(supplire)

I

Rasg.

f

(gliss.)

3

3 3

10

ma. des.

0

pizz.

ma. sin.

f fpizz.

43

1ca q = 60

S

6a, MI

5


5

EQUALIZATION sempre con variazione

EQUALIZACION variada continuamente

f

mp

5

Sempre

etc.

9

sfz

0

13

44

17

5

5

f

accel. / rit. ad lib20

0

0

5

0

0

5

5

5

5

0

0

5

5

5

5

5

5

5

23

5

5

5

5

5

5

5

5

26

5

5

5

5

5

5

5

5

5

5

5

5

A tempo29

5

mp

5

0

f

f

45

1

ca q = 52

T

6a, MIb

Sempre e corde vuotePlectro

Siempre y cuerdas al aire Siempre mano izquierda y cuerdas al aire

mf

Sempre mano sinistra e corde vuote1 1

Plectro

1 1 1

4

3

7

3

3

3

3

3

10

3

3

3

3

3

3

3

3

3

3

3

3

46

13

16

Ord. ma.

Ple.

f

0

pp

17

mf

(1, 2) ma. sin.

20

Repete ad lib. e sempre più veloce / Repite ad lib. y siempre más veloz.

3

3

47

1ca q = 66, ma flessibile

U

6a, RE

rit. (el trino)

S. Tas.

(in phase)

(en fase)

p

S. Pont.

S. Tas.

p

rit. (il trillo)

9

p S. Pont.

S. Tas.

S. Pont.

f

sfz

accel. molto rit. molto14

(non arpgg.)

3

S. Tas.f

S. Pont. S. Tas. S. Pont.

A tempo15

Arm.

00p

Ord.

f

(in phase)

48

19

0

0

0

3

p

f

sfz

sfz sfz

23

00

sfz

p

(in phase)

(in phase)

28

.. 0 0 ..

* repete ad lib. / repite ad lib. ca 0'18.''

S. Tas.f

S. Pont.

29

Ord.

5

5 5

5

5

5

5

5

5

5 5

3

f

33

0

S. Pont.

S. Tas.

S. Pont.

f

(in phase)

49

36

0

1, 3

p

2

S. Tas.

S. Pont.

2

40

Ord.

S. Pont.

V

3

sfz

sfz

sfz

sfz

sfz sfz sfz

accel. molto44

( non arpgg.)

S. Pont.

f

S. Tas. S. Pont.

A tempo45

rit.

Ord.

Arm.

(il trillo)

0

50

1ca q = 100 / 120

V

Ta.

6a, MI b

Sempre

f

Solo mano sinistra / solo mano izquierda

4

6

0

pizz.

0 0

pizz.

Sempre

f

10

Ord.

pizz.

Ord. pizz.

51

13

pizz.

0

Ord.

pizz.

0 0

17

Arm.

pizz.

10 1

20

0 0

23

pizz.

Ord. Arm.

Ord.

26

pp f

52

29

f

pp

f

Solo mano sinistra

Sempre f

32

0

35

01

38

pizz.

53

1ca q = 100 / 120

W

6a, MI b

Mano destra / mano derecha

Sempre

Solo mano sinistra / solo mano izquierda

f

percussione

3

3

3

3

5

3

7

0

pizz.

0 0

Sempre

f

3

54

9

00

0

Ord.

pizz.

0

3

3

11

Ord.

0

0

pizz.

3

13

Ord.

pizz.

3

15

Ord. 0

3

0pizz.

Ord.

0 0 pizz.

0

17

Arm.

3

55

19

pizz.

3 3

3 0

1 1 0

0

21

pizz.

23

Ord.

3 3

25

Arm.

3 3

27

f

29

f

pp

f

56

31

Solo mano sinistra

3

3

33

Sempre f

3

35

pizz.0

3

37

0

Ord.

pizz.

3

39

Ta.

p

3

57

1

Moderato

Y

Sempre

ff

6a, MI b

XII - XIX 3

Plectro

Mano

3

Vivo

2

3 3 3 3 3 3 3 3 3 3 3

pp ffpp ff ad lib.

3

Ple.

3 3 3 3 3 3 3 3 3 3 3

4

3 3 3 3 3 3 3 3 3 3 3

Ma.5

3 3 3 3 3 3 3 3 3 3 3 3 3

pp ff pp ad lib.

6

Ple.

3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

59

7

3 3 3 3 3 3 3

Ma.

3 3 3 3 3

Ple.8

3 3 3 3 3 3 3 3 3 3 3

Ma.

ff pp ff pp ad lib.

9

3 3 3 3 3 3

3 3 3 3 3

10

3

3 3 3 3 3 3 3 3 3 3

3

Ple.11

3 3 3 3 3 3 3 3 3 3 3 3 3 3

3

Ple.

ff

12

Moderato

Ma.

pp

3

Ma.

3

Ple.

ff pp

XIVivo

13

0

3 3 3 3 3 3 3 3

ff pp ff mp

60

1

Vivo

¿ ?( para una letra del futuro )

f

0

*

6a, MI b

Sempre

Plectro p

f


* STEREO ECHO variado continuamente* STEREO ECHO sempre con variazione

0

0

p

f

0

2

0

0

0

p f

3

0 0

0

XII

p f

4

tenuto

XII VII XII

p p

61

5

A tempo

0

0

0

f f f

6

0

0

0

0

7

p

0

0

0

V

f f

8

tenuto A tempo

0 0

XII IX

IX

XII

p

9

IX

0

0 XII

0

XII XII XII XII XII XII

f p f

62

1ca e = 72

Z

6a, RE

Ord. (molto vibrato)5

5

sfz

sfz

pp

sfz

2

7 6

7

6 67

pp

4

5

5

7

sfz

f

pp

6

7 6

7

5

7

sfz

pp

f

63

7

Ord. (molto vibrato)

5

5

5

5 5 5

sfz

pp

9

5 5 5

5

5 5

(simile)

10

5 5 5

6

5

12

7

5

f

sfz

14

5

sfz

pp

64

q = 84 / 100 ad lib.

Sonatina Málaga

I

Afinación

Guitarra A

(Para 2 Guitarras)(To 2 Guitars)

Guitarra A unghia / uña Ord.

ff

0 Arm.

p

8a

Guitarra B

funghia / uña

f

Ord.

ff

p

Afinación

Guitarra B

4

sfz

sfz

sfz

0

f

Arm. 8a

0

0

f

0

f

f

7

Ord.

ff

8a Arm.

p

0

f

( secco)

0

0

repete ad lib./ repite ad lib.

f 5

Ord.

ff

8a Arm.

p

0

f

pp

0

( secco)0

0

5

f

pprepete ad lib./ repite ad lib.

9ca.

0'18.''

65

10

mp

sfz

33 3

sfz

3 3 3

13

mp

(simile)

(simile)

16

f

0 0 0 3 6

f

0 0 0

3 5

19

pp

pp

f

22

f

f

ff

p

sfz

f

ff

p

66

25

Ord.

p

3 3 tremolo solo mano sinistra / trémolo solo mano izquierda

00

Sonoro

0 0

Ord.

p 3

3 Sonoro

tremolo solo mano sinistra / trémolo solo mano izquierda

0

31

0

0 0 Ord.

pp

f3

0

Ord.

pp

f

3

37

Rasg. XII

Rasg.

Rasg. acellmeno a------------------------------------------- più

menos a----------------------------------------- más

f

f

Rasg.

XII

Rasg.

más a-------------------------------------------- menos

Rasg. ritpiù a-------------------------------------------- meno

gliss. gliss.

40

I

piu a------------------------------------ meno

Rasg. ritpiù a------------------------------------------- meno

más a----------------------------------------- menos

Ord.

I

menos a--------------------------------------- más

meno a---------------------------------------- piùRasg. acell

Ord.

43

pp

0

f

pp

( secco)

sfz

sfz

pp

0

f

pp

( secco)

sfz

sfz

67

1

ca q = 60

II

XII

.

f

f

XI

1ª a 6ª corde

armonici / armónicos / harmonics- - - - - - - -

mf

f

( secco)

XII

f

mf

mf

armonici / armónicos

/ harmonics XI

f1ª a 6ª corde

- - - - - - - -

mf

Rasg. secco

f

4

XIV

1ª a 6ª - - - -

0

pp

Arm. 8a

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

XIV

1ª a 6ª

Capirotazo

mf

XII

C.

(simile)

mp

C.

C.

C.

C.

f

7

f

Ord. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

XIV

Sonoro

1ª a 6ª corde

armonici

XI

Ord.

pp0

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -armonici

Sonoro

XI

1ª a 6ª corde

I

10

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

I

XI

XIV

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

XI

XIV

I

pizz.

f

68

13

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - pizz

f

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -pizz

f

14

pizz

f

Ord.

VII

000

Ord.

000p

VII

p

pizz

f

Ord.

p

VII

17

C. C.

Ord.

Ord.

C. C.

Ord.

0

3

18

ca.

XI

Sonoro 1ª a 6ª

- - - - - - - - - - - - - - - - - - - - - -

armonici

repete sempre acell / repite siempre acell

f

0' 18.''

1ª a 6ª

XI

Sonoro

- - - - - - - - - - - - - - - - - - - - - -

armonici

repete normale / repite normal

19Meno mosso

Arm.

p

8a *

Arm.

p

8a f

* ¿col dito pollice, con el pulgar?

f

Arm.

8a

69

Tempo primo

22

S. Tas.

Sonoro

- - - - - - - etc

Sonoro

pizz - - - - - - - etc

23

- - - - - - - etc

- - - - - - - etc

24

pizz

f

0

Ord.

p

Ord.

p

pizz

f

Ord.

p

27

Arm.

Sonoro

8a - - - - - - - etc

pizz. - - - - - - - etc

Sonoro

28

f

Arm.

8a VII C.

f

Rasg.secco

f

70

1

ca q = 88

III

0 S. Ponticello

0

0

0

Ord. 0

f

0 S. Ponticello

0

0

0

Ord.

0

4

solo mano sinistra / solo mano izquierda

0 brillante

S. Pont.

0

solo mano sinistra / solo mano izquierda

0

ff

7

0

Ord. 3

f

sfz

Ord.

f

0

3

10

brillante S. Pont.

ff

0

(secco) f

71

13

S. Tas.

pp

- - - - - - - - S. Pont.

S. Tas.

pp

- - - - - - - - S. Pont.

f

f

16

ff

0 0

0

p

brillante

S. Pont.

ff

0

S. Pont.- - - - - - - -

S. Tas.

19

gliss. XII

Ord.

pp

5

3 6

XII Ord.

f

sfz

pp

sfz

pp

sfz pp

6 5

22

sfz

5 5 6 5 6 3

sfz

pp

sfz pp

pp

pp

sfz

6 6 5 5

24

pp pp

sfz

sfz

5 3 5 6

pp

sfz

sfz pp

pp

6 sfz

pp

sfz

pp

6 6 5

72

26

mano sinistra / mano izquierda

Sonoro

0 f

mano sinistra / mano izquierda

Sonoro

0 f

0

29

XII

pp

Rasg.più a------------------------------------ meno

f

Rasg. rit

pp

0

XII

pp

Rasg.più a------------------------------------ meno

f Rasg. rit

pp

f

0

( secco)

32

más------------------------------------ menos

3

3 3

3

pp

f

3

3

35

f

f

0

0

sfz 3

sfz gliss.

pp

38

pp

*0

etc. - - - - - - *Corde vuote alzare il dito / cuerdas al aire levantar el dedo / when performing on open strings, lift the finger.

0 0 0 0

0 0 0 0 0 0

5 5 5 5 5 5

pp

*0

etc. - - - - - - *Corde vuote alzare il dito / cuerdas al aire levantar el dedo / when performing on open strings, lift the finger.

0 0 0 0 0

*

0 0 0 0 0

5 5 5 5 5 5

73

40

0 0

5

0 0

0 0 0 0

00 0 0

5 5 5 5

0 0 0 0

0 0 0

0 0

5

0 0

0

5 5 5 5

42

0 0

0 0 0 0 0

f

gliss.

5 5 5

0 0 0 0 0 0

sfz

5 5 5

44

f

S. Tas. pp

f

3 pp

S. Tas.

pp sfz

74

ca q = 60

Quinteto (Cuarteto de cuerda y Guitarra)

5

Violín A

Violín B

Viola

Violoncello

Guitarra

Arco Battuto (alla punta)

Dedicado a Angelo Gilardino

sfz pp


(TUTTI)

sfz

ppArco Battuto (alla punta)

sfz

sfz ppArco Battuto (alla punta)

Tambora6a, RE

f

pp

- - - - -

00

0

10

arco battuto

f

(TUTTI)

pizz sul tastof

mf

arco ordinario

mf

arco mixto

mf

3 3 3

Ord.

sfz

0

Capirotazo

f

ca q = 100 ca q = 6015

.glis d´ armonici

pp

glis d´ arm.

( sordine / sordina)

pp

pp

5

gliss.

pp

glis d´ arm.

unghia de ponticello a tasto / uña de ponticello a ceja

f( secco)

Ord.

sfz

Tambora

f

75

ca q = 4020

alla punta

pp

pp

ff

pp

pp

f

ca q = 5025

(via sordine / fuera sordina)

col legno

mp

col legno

mp

pizz

mf

col legno

mp

molto vibrato - - - - - - - - - - - - - - -

f

0

0

VII

ca q = 6030

sul tas. - - - - - sul pont

pp

0

(una volta)

arco sul tas. - - - -

pp

0 sul pont. - - sul tas.

V / VII

f

0

Arm. 8a.

0

5

76

ca q = 50 ca q = 100

35

ca q = 60

flageolets

mp 0

5

5

0

05

pizz sul tasto

p

flageolets 0

5 0 5

5

pizz sul tastop

mp

flageolets 0 5

5pizz sul tasto

p

mp

flageolets

0 5

pizz sul tasto 3

f - - - - - - etc.

3

mp

sfz

0

Ta.

f

p

ca q = 100 ca q = 4040

pizz

f

3

arco0

p

pp

Pizz

3

arco0

p

pp

Pizz

f

f

3

arco0

p

pp

Sul Pont.

Pizz 3

arco

0

p pp

f

f0

C.0

Rasg. secco

3

3

ca q = 6045

sul tas. - - sul pont.

f

0

pizz sul tas.

p

3

3

0

f

arco batt.

mf

3

3

3

0

f

3

mano destramano derecha

p

pp

3 pizz

C. VII

f mano sinistra

mano izquierda

f

0 0

00

3 3 3 3 3 3

77

molto accel. molto rit. A tempo50

rumore bianco / ruido blanco / withe noise arco

ord.

mp

mp

pp

mp

arco

f

- - - - - -

- - - - - -

0

3 0

mp

00

00 0

3 3 3 3 3 3 3 3 3 3 3

ca q = 7255

I 0

pp

II 0

II

pp

I0 II

0 0

arco ord.Cantando

mf

pp

pizz sul tasto

sul Do -pp

f

0

60

0 0 0

0 0

- - - - -

0

- - - - - - - - -

78

65

( )

pp

0 0 3 0 0 0 0 3 0 0 3 3 3 3 3 3

( )

pp

pp

IV

XII

arco mixto

mf

Cantando

0

pizz

arco

mf

VII

sfz

- - - - - -

70

0 0 0

pizz sul tas.

3 pizz

pp

3 3 3

arco

mf

3

gliss. 0

arco

pizz

0

0 0 col legno

p

mf

S. Pont. - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

f

Arm. 8a.

ca q = 8075

(sempre pizz)

pp

col legno battuto

arco alla punta

3

C.

3 3 3

3 3 3 3 3

C.

3 3 3 3 3 3

pp

V

sfz

VII

sfz

C.

IV

sfz

79

pp

3 3 3 3 3

C.

3 3 3 3 3 3 3 3 3

C.

3

XII C.

sfz

V

sfz

Rasg. secco

sfz

IV

ca q = 6080

pizz

3

pizz

sfz

pizz

sfz

Arm. I ---VII---I ad lib.

pizzmp

sfz

pizz

S. Pont.

f

gliss.gliss. gliss. etc.gliss.

sfz

85

rit.

90

pizz

pp

arco

arco

pizz

arco

pizz

arco

arco

pp

pizz

0

pizz

0 arco

pizz

0

pizz

pizz

pp

gliss. arco

pizz

pizz0

pp

arco pizz

arco pizz arco

0

f Ord.

- - - - - -

gliss.sfz

f

sfz

f

sfz

f

3

sfz lento

33 3 3

gliss.

80

ca q = 80

95

ca q = 100

- - - - - - - - - - - - - - - - - - - - - - - - -

pizz sul pont.

mf

rumore biancoruido blanco IV

arco IVmf

mf

sul tas.- - - - - sul pont.mf

pizz

mp

arco p

IV

mf

100

Ord.

0

0

f

105

arco mixto

f

arco mixto

f

0

0

0 0

arco mixto

f

arco mixto

f 0

0

0

0

0

0

f

ad lib.

gliss.

81

(ca q = 100) Espressivo

arco ord.

0

pp

pp

gliss.

arco battuto

pizz sul tasto

pp

arco ord.

0

pp

3 3

33

f

pp

3

110Tenuto A tempo

arco col legno

arco ord. alla punta

IV

3

3

0

f

00

00

IV

sfz

33

5

ca q = 60115

col legno battuto

f

f

col legno battuto

f

col legno battuto

f

col legno battuto

f Ord.

82

ca q = 100120

pp

glis arm.

pp

glis arm.

pp

5

gliss.

pp

glis arm.

f

unghia de ponticello a tasto / uña de ponticello a ceja Ord.

Rasg. secco

sfz

125

IV col legno battuto

mp

IV arco battuto

mp- - - - - - - - - - - - - etc.

p

Arm. 8a.f

Sempre cuorde vuoteSempre cuerda al aire

130

Lastimero

Tenuto

col legno

mp

ord. arco batt. ord.

col legno

mp

ord. arco batt. pizz col legno batt.

ord.

mp

arco batt. pizz col legno batt. ord.

pp

arco mixto

0

0

0

0

0

0

0

0

0

0

83

A tempo

135

pizz

ord. arco batt.

col legno

col legno

Ta.

f

Dolce

mf

pp

0

mf

0

f

Ord.

mf

0

0

3

3

140

pizz col legno ord.

arco batt. pizz ord. arco batt.

pizz col legno

pp

Ord.

f

5

mf

f

sfz

mf

0

sfz

3

Tenuto A tempo

145

arco batt. flageolets

pp

3

0

3

pizz flageolets

pp

0

3

3

ord. flageolets

3

0

3

flageolets

pp

3pp

- - - - - - - - - - - -S. Pont.

sfz

sfz

sfz

00

mf

00

0 0

0

0

0

0

0

3

3 3

5 5 5 5 5 6

84

Lastimero(ca q = 60 solo Violoncello)

ca q = 40150

ord.

rumore biancoruido blanco

f

pp

3

ord.

f

pp

ord.

f

pp

3

sul tasto - - - - sul pont.

Rasg.

VII

f

mf

0

pp

0

f

mpGliss. II, III, IV, V

Rasg. meno a - - - più - - - - - - - meno

f

gliss.

3

3

155

simile

f

pp

rumore

f

pp

Rasg.menos a - - más - - - - - menos

f

pp

mp

f

pp

f

pp

f

pp

mp

repete ad lib. / repite ad lib.

Rasg. meno a - - più - - -meno - - - - più- - - - - - - - - - -meno - - - - - - - - - -più

Rasg. meno a - - - - - - - - - - - più - - - - - - - - meno

Rasg. menos a - - más - - -menos - - - - - más- - - - - - - - - - menos- - - - - - - - -más

gliss. gliss.

gliss.

ca q = 100 rit - - - - - - - - - - - - - - - - - - - - - -

pizz sul tasto

pp

3

pp

arco

3

Rasg. menos a - - - - - - - - - - - más - - - - - - - - - menos

arco battuto

33

col legnopp

alla punta

pp

(A tempo) ord.

pp

3 3

poco

3 3 3

sfz0

mf f

mf

3

f

Ord.

0

0

0

00

3

0

0

3

3

5

85

A tempo160

165

arco mixto

0

0

0

pizz sul tasto

col legno 0

ordinario

pp

Rasg. + gliss. armónicos ad lib. 1ª a 6ª cuerda

Rasg. + gliss. dármonici ad lib. 1 a 6 corde

f

gliss.

rumore biancoruido blanco

p

p

pizz

arco p

f

p

0

f

Ord.

0

Ta.

Ord.

mf

XII

3

3

170 poco rit. A tempo

0pp

arco mixto

0

3

3

p

pp mf

f - - - - - - -

- - - - - - -

5

86

175

ca q = 60

alla punta

pp

col legno

3

col legno battuto

pp

ord. gliss.

col legno

pp 3

arco battuto

pp

3

C.

sfz

pizz

pizz

f

f

pizz

pizz

f

3 X

f f Ta.

f

180

arco battuto alla punta

ord.

arco battuto alla puntapp

pp

pp


pp


f - - - - - - -

- - - - - - -

87

ca q = 60

Violín A Quinteto (Cuarteto de cuerda y Guitarra)

Rafael Diaz

5sfz�� pp



10 arco battuto

f

ca q = 100 ca q = 60

15

ca q = 40

.glis d´ armonici

pp


20 alla punta

pp


ca q = 5025

ca q = 60

col legno

mp

1

ca q = 50ca q = 100

35 flageolets

mp 0

5

5

0

05

ca q = 60 ca q = 100 ca q = 40

40 pizz sul tasto p

pizz

f

3

arco

p

0

ca q = 60

45 pp

sul tas. - -sul pont.

0

f

pizz sul tas.

p

3

3

molto accel. molto rit. A tempo50 arco

mp

rumore bianco / ruido blanco / withe noise

ca q = 72

55 I 0

pp

II 0

60 0 0 0

65 ( )

pp

0 0 3 0 0 0 0 3 3 3 3 3

70 3 0 0 0 0 0 3 3 3

3 pizz

pizz

pp

3

Violín A2

ca q = 80

75(sempre pizz)

ca q = 60

80

pizz

sfz 3

85

rit.

90

pizz

pp

arco

arco

pizz

arco

pizz

arco

ca q = 80

95

ca q = 100

- - - - - - - - - - - - - - - - - - - - - - - - -

pizz sul pont.

mf


mf

100 arco mixto

f

105


Tenuto

110

A tempo

arco ord.

Violín A 3

ca q = 60

115 f

col legno battuto

ca q = 100120

pp

glis arm.

125

130 Tenuto

col legno

mp

ord. arco batt. ord.

A tempo

135 pizz ord. arco batt. pizz

140 col legno ord. arco batt.

Tenuto A tempo

145 flageolets

pp

3

0

3

ord.

3

Violín A4

ca q = 40

150 rumore biancoruido blanco

f

pp

simile

f

pp

rumore

f

pp

155

ca q = 100 rit - - - - - - - - - - -

pizz sul tasto

pp

3

arco

3

arco battuto

33

A tempo

160 165 arco mixto0

pp

0

0

170 poco rit. A tempo rumore bianco

ruido blanco

p

175 ca q = 60

alla punta

pp

col legno

3

pizz

f

180 arco battuto alla punta

pp

ord.

Violín A 5

ca q = 60

Violín B Quinteto (Cuarteto de cuerda y Guitarra)

Rafael Diaz

5sfz pp



��

10 pizz sul tasto

mf

ca q = 100 ca q = 60

15

ca q = 40

pp

.glis d´ armonici


pp

20

ca q = 50

(via sordine / fuera sordina) col legno

mp

25

ca q = 60

30 sul tas. - sul pont

pp

0(una volta)

1

ca q = 50 ca q = 100

35 flageolets

mp 0

5 0 5

5

ca q = 60 ca q = 100 ca q = 40ca q = 40

40 pizz sul tasto

p

pizz f

3

arco

p

0

ca q = 6045

rumore bianco / ruido blanco

pp

0

f

arco batt.

p

3 3

3

molto accel. molto rit. A tempo50

mp

ord.

pp

ca q = 72

55 II

pp

I0 II

0 0

60 0 0

65 ( )pp

70 ( )

pizz sul tas.

pp

arco

Violín B2

ca q = 8075

pp

ca q = 60

80 (1ª vez)

pizz

sfz

85

rit.

90 arco

pp

pizz

0 arco

pizz0

arco pizz

arco

0pizz

ca q = 80

95

ca q = 100

arco

mf


mf

100

arco mixto

f

0

0

105 0

0 0


Tenuto

110A tempo

pp

gliss.

arco battuto arco col legno

Violín B 3

ca q = 60

115 f

col legno battuto

ca q = 100120

pp

glis arm.

125 col legno

mp

130 Tenuto

ord. arco batt. pizz col legno batt.

A tempo

135 col legno arco batt.

140

pizz ord. arco batt. pizz

Tenuto A tempo145 flageolets

pp

0

3

3

ord.

Violín B4

ca q = 40

150 rumore

f

pp

f

pp

rumore

f

pp

155

ca q = 100 rit - - - - - - - - - - -

mp

col legnopp

A tempo

160 165 pizz sul tasto

170 poco rit. A tempo rumore

p

ordinario

0pp

175 ca q = 60

col legno battuto

pp

ord. gliss.

pizz

f

180pp


Violín B 5

ca q = 60

Viola Quinteto (Cuarteto de cuerda y Guitarra)

Rafael Diaz

5sfz


pp


��

10 arco ordinario

mf

ca q = 100 ca q = 60

15

ca q = 40

pp

5

gliss. ( sordine / sordina)

20 ca q = 50

ff


pizz

mf

25ca q = 60 30 arco sul tas. - - - -

pp

0 sul pont. - - sul tas.

1

ca q = 50 ca q = 100

35 flageolets

mp

0 5

5

ca q = 60 ca q = 100 ca q = 40

40 pizz sul tasto

p

pizz

f

3

arco

p

0arco

ca q = 6045

pp

0

f

3

molto accel. molto rit. A tempo50 rumore bianco / ruido blanco

mp

ca q = 72

55 arco ord.Cantando

mf

60

65

pp

70 mf

3

gliss.

Viola2

ca q = 80

75 col legno battuto

pp

ca q = 60

80

85

rit.

90 pizz

sfz

pizz

pp

gliss. arco

pizz

rit. ca q = 80

95

ca q = 100

sul tas.- - - - -sul pont.

p

100 arco mixto

f

105


Tenuto

110A tempo

pizz sul tasto

pp

arco ord. alla punta

Viola 3

ca q = 60

115 f

col legno battuto

ca q = 100120

pp

5

gliss.

125

IV col legno battuto

mp

130

Tenuto

ord.

mp

arco batt. pizz col legno batt. ord.

A tempo

135 col legno

pizz col legno ord.

Tenuto A tempo145 flageolets

3

0 3 ord.

3

Viola4

ca q = 40

150 rumore

f

pp

f

pp

f

pp

155 ca q = 100 rit - - - - - - - - - - -

alla punta

pp

A tempo

160 165 col legno

pp

0

170 pizz

arco rumore

p

poco rit. A tempo

arco mixto

pp

mf

0

col legno

pp

3

3

3

175 ca q = 60

pizz

f

180 pp


Viola 5

ca q = 60

Violoncello Quinteto (Cuarteto de cuerda y Guitarra)

Rafael Diaz

5sfz pp



��

10 arco mixto

mf

3 3 3

ca q = 100 ca q = 6015

ca q = 40

pp

glis d´ arm. ( sordine / sordina)

20 pp

pp

ca q = 50

25 (via sordine / fuera sordina)

col legno

mp

ca q = 6030

1

ca q = 50 ca q = 10035 flageolets

mp

0 5

ca q = 60 ca q = 100 ca q = 40

40pizz sul tasto

mp

3

pizz

f

3

arco

p

0

ca q = 6045

pp

pp

3 pizz

molto accel. molto rit. A tempo50 arco rumore bianco / ruido blanco

mp

ca q = 72

55 arco ordinario

pp

60 sul Do -

pizz sul tasto

pp

- - - - -

65 mf

Cantandoarco mixto

0

pizz

arco

70 0pizz

arco

0

0 0 col legno

p

Violoncello2

ca q = 80

75 arco alla punta

pp

3 3 3 3 3 3 3 3 3 3

3 3 3 3 3 3 3 3 3

3

ca q = 60

80 3 3 3 3 3 3 3 3 3

3 pizzmp

85

pizzsfz pizz

0

pp

arco

pizz

90

rit. ca q = 80 arco pizz arco

0

95 ca q = 100

100 pizzmp

arco

rumore

IV

mf

105

arco mixto

f 0

0

0

0


0

arco ordinario pp

3 3

33

Tenuto110

A tempo 3

3

Violoncello 3

ca q = 60

115 f

col legno battuto

ca q = 100120

pp

glis arm.

125

arco battutoIV

mp

130

LastimeroTenuto

arco mixto

pp

A tempo

135

140

Tenuto A tempo flageolets

pp

3

Violoncello4

Lastimero145

(ca q = 60 solo Violoncello)

150

mp

sul tasto - - - sul pont.

155 repete ad lib. / repite ad lib.

ca q = 100

rit - - - - - - - - - - - (A tempo) ord.

pp

3 3

poco

3 3 3

A tempo160

ordinario

pp

165

170 rumore IV

p

poco rit. A tempo arco battuto

pp

3

175 ca q = 60

pizz

f

3

180 pp

arco pattuto alla punta

Violoncello 5

ca q = 60

Guitarra Quinteto (Cuarteto de cuerda y Guitarra)

Rafael Diaz

5 Tambora

6a, RE f

- - - - -


00

0

10 Ord.

sfz

0

Capirotazo

f

ca q = 100 ca q = 60

15unghia de ponticello a tasto / uña de ponticello a ceja

f ( secco)

sfz

Tambora

f

ca q = 4020

ca q = 50

f

molto vibrato - - - - - - - - - - - - - - -

f

0

25

0

VII

ca q = 60

30 V / VII

f

0

Arm. 8a.

0

5

1

ca q = 50 ca q = 100

35 f - - - - - - etc.

3

sfz

0

ca q = 100 ca q = 40

40 Ta.

f

sul ponticello

f

0

C.0

Rasg. secco

3

3

ca q = 60mano sinistra mano izquierda

p

f

0

3 3 3 3 3 3

ca q = 6045

f

0 0

00

C.

VII

molto accel. molto rit.

f - - - - - -

- - - - - -

0

3

0 00

3 3 3 3 3 3 3 3 3 3 3

A tempo50 0 0 0

ca q = 72

55 0

f

Guitarra2

60 - - - - - - - - -

0

65

S. Pont. - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

VII

mf

IV

XII

sfz

- - - - - -

S. Pont.

mf

70

f

Arm. 8a.

ca q = 80

75 V

C.

sfz

VII C.

sfz

IV

C.

sfz

XII C.

sfz

V

C.

sfz

ca q = 60

80 Rasg. secco

sfz

C.

IV

S. Pont.

f

Arm. I ---VII---I ad lib.

gliss.gliss. etc.gliss.gliss.

85 f Ord.

- - - - - -

gliss.sfz

f

3

90

rit.

sfz

f

sfz

f

3

sfz

lento

3 3 3gliss.

Guitarra 3

ca q = 8095

f

ca q = 100

0

0f

100

Ord.

0

0

f

ad lib.

gliss.

105


f

110

pp

0

f

IV

3 33

Tenuto A tempo

00

00

IV

sfz

5

Guitarra4

ca q = 60

115 f

Ord.

ca q = 100120 unghia de ponticello a tasto /

uña de ponticello a ceja

Rasg. secco

sfz

125

Arm. 8a. (sempre F)

p

f

Sempre cuorde vuoteSempre cuerda al aire

f

- - - - - - - - - - - - - etc.

0

0

130 Tenuto

0

0

0

0

0

0

0

0

A tempo

135

Ta.

f

Dolce

mf

pp

0

mf

0

f

3

mf

0

0

Ord.

pp

f

5

mf

3

3

140f

sfz

mf

0

sfz

sfz

sfz

sfz

3

3 3

Guitarra 5

Tenuto A tempo

- - - - -S. Pont.

00

mf

00

0 0

0

0

- - - -.

0

5 5 5

145 0

0

Rasg.

VII

f

mf

0

pp

0

5 5 6

3

3

ca q = 40

150f

Gliss. II, III, IV, V

f

gliss.


f

gliss.


f

Rasg.più a - - - - - - - meno- - - - - - - più

gliss.

155

ca q = 100

f

gliss.


sfz

0

mf f

mf

rit - - - - - - - - - - -

3

f

Ord.

0

0

0

00

3

0

0

3

3

5

Guitarra6

A tempo160

165

Rasg. + gliss. armónicos ad lib. 1ª a 6ª cuerdaf

Rasg. + gliss. dármonici ad lib. 1 a 6 corde

gliss.

Ord.

f

p

0

f

Ord.

0

Ta.

Ord.

mf

XII

3

3

170 poco rit.

f - - - - - - -

- - - - - - -

5

A tempo

175

ca q = 60

C.

sfz

f

Ta.

f

180f - - - - - - -

- - - - - - - - - - - - - -

Guitarra 7

Flauta

q = 60

Yo, Amadeo

5

Comienzo de la grabación

frulatti

pp

Grupo de cámara y grabación

f

pp

10 15TKTK

pp

pp

TKTK ad lib. pp sfz

25 pp

sfz

mf

3

30

f

3

35 40

Desaf. irregular

sfz

,pp

1

q = 100

50 55 frulatti

f

60 3

3

65

3

q = 6070 75

p

80frulatti

p

p

f

p

f

90irregular

pp

frulatti

pp

pp

Flauta2

95 f

pp

100 q = 100

f

TKTK

115

3

125

f

140 ]

Accel. / Rit. ad lib.

f

- - - - - - - - - - - -

}

145

Los interpretes sorprendidos van dejando de tocar, se miran

e interrogan a si mismo

y finalmente preguntan... ¿Quién va?

La grabacióntermina sola

Flauta 3

Clarinete Sib

q = 60

Yo, Amadeo

5 10 pp


pp

Desaf. irregular

pp

etc.

15 pp sfz

pp

pp

sfz

pp

20 25 30

pp voz

f

35simile

40 Desaf. irregular

sfz

,

pp

q = 10050

f

1

55 mp

fulatti

3

60

3

3 3

65

q = 6070 75

pp

80

p

f

90

pp

fulatti

f

f

p

TKTK 95 pp

elaborar

100

Clarinete Sib2

q = 100115

TKTK

f

3

3

125 p

TKTK f

130 voz

135



y finalmente preguntan...

¿Quién va?

Clarinete Sib 3

Saxo Alto Mib

q = 60

Yo, Amadeo

5


frulatti

pp

f

pp

pp

1015

pp

pp

TKTK

sfz

pp

sfz

20 pp

gliss.

2530

pp

+ + + + + + + + + + + + gliss.

35 40 + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + gliss. gliss.sfz

,pp

q = 100

50 f

1

55 mp

3

frulatti3

6065

3 3

3

q = 6070 75

p

80Slap

f

85 p

90 f

f

p

Saxo Alto Mib2

95 100pp

q = 100

f

3 TKTK

3

125 3

f

130 TKTK

]

Accel. / Rit. ad lib.

f

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

}

135




Saxo Alto Mib 3

Guitarra

q = 60

Yo, Amadeo

5 f


f

p

f

3

f

3

3

3 3

15 20 f

pizz.

f

arm.8ª pizz.

arm.8ª

pizz.

3

3

25 arm.8ª

pizz. arm.8ª

pizz.

arm.8ª

ord.

3

30VII

f

f

35

40 f

1

q = 10050 55 Rasgueando

XII

f

mf

60

3

65

rasg.

q = 6070 75 90

f

f

f

95

100 f

rasg.IV

gliss.

Guitarra2

q = 100

110 V

f

rasg. + gliss. con un vaso o cilindro metálico

en el dedo.

VII

IV

XII

VII

120

f

125

130 135XII

gliss.





Guitarra 3

q = 60

Teclado Yo, Amadeo

5

Sonido de Clave


gliss.

f

f

3 3

3

f

20

Sonido de Piano

3

pp

pp

30

f

35

p

gliss.

1

40

gliss.

f

q = 10050 55

mp

Sonido de Clave

60

p

65

p

q = 6070

75

p

Sonido de Piano

p

Teclado2

85 90

f

p

2 tenuto

p

95

100

f

q = 100

Sonido de Clave

p

110

115

Teclado 3

Sonido de Piano

f

125

130

simile

135



y finalmente preguntan...

¿Quién va?


Teclado4

Soprano Si b

= 60

Cuasi un viaje

10


Cuarteto de Saxos y grabación

aire (S)

p

15 frulatti (R) aire (S)

f

20 25 f

aire (S)

30 35 TKTK

fp

fp

fp

simile

45 fp

p

50 55

slap cerrado

voz

f

p

60

65desf. irregular

1

80 p

3

3

q = 3085

q = 84 pp

f

voz f

pp

voz f

voz

90

p

...sobre las piernas

3 3 3 3 3 3 3 triscando los dedos

95100

p

3

mp

105 pp

3

3

3

3

3 3

3

f

3

3 pp

3

3

110

3

ff

pp

ff

pp

115

120

ff

pp

ff

pp

ff

pp

125ff

pp pp

Soprano Si b2

130f

aire (S)

,* Comenzando ad lib. y tocando ligeramente desfasados sin reparar en las coincidencias gráficas.

*

palmada

f

5

135pp

TKTK

f

slap

pp

5 55

3

.. sobre las piernas

voz 5

voz pp

f

6

triscando

5 5

5

140f

palmada

triscando fpp

f

aire (S)

3

5

145f

5

150 *

* Aire y todos en fase y a tempo.

aire(S)

Tutti ad lib.

Soprano Si b 3

160 mp

p

p

165 170

p

f

p

voz

sonido

175 180

f

f

simile

185 190

f

aire palmada

f pp

Voz

200 f

La grabación termina sola

Soprano Si b4

Alto Mi b Cuasi un viaje = 60

10

p

aire (S)

f

15

desaf. irregular

pp

25 p

3

30 35

45 golpe con las palmas de las manos sobre las piernas

f slap

f

50

55 p

60

1

76 80 TKTK

f

3 3 3 3 3

q = 30 85 q = 84 pp

f

f

pp

f

90 p

palmada

5 5 5 5 5 5 5 5 5

95 5 5 5 5 5 5 5

100f

sempre

f

simile

mp

105, * Comenzando ad lib. y tocando sin reparar en las coincidencias gráficas.

pp

*

3 3 3

3 3 3

3 3 3 3 3 3

,*

pp

* tocando sin reparar en las coincidencias gráficas.

3 3 3 3 3 3 3 3

3

3 3 3

Alto Mi b2

110

115 ff

pp

ff

pp

ff

pp

120130

ff

pp

ff

pp

* Comenzando ad lib. y tocando ligeramente desfasados sin reparar en las coincidencias gráficas.

ff

,

f

*

f

pp

5 5

135

pp ff

voz

5

5

5

3 5 5

f

pp

6

triscando

f


palmada triscando

5

140fpp

f

f

3

145 5

f

5

150* Aire y todos en fase y a tempo.

*

f

Tutti ad lib.

Alto Mi b 3

155 160 mp

170 175p

sonido voz

180

f

185

190

195 p

f

aire

200palmada

f

voz

pp

f


Alto Mi b4

q = 60

Tenor Si bCuasi un viaje

10 p

aire (S)

f

frulatti (R)

15 pp

frulatti

20 25 30 f voz

f

triscando los dedos

5 5 5 5

45aire (S)

5 5 5 5 5

50 p

5 5 5 5 5

55 60

80

p

1

q = 3085

q = 84

pp

f

f

pp

f

f

90pp

frul.

100 slap

f

pp

3 3

105, *

( )

* Comenzando ad lib. y tocando sin reparar en las coincidencias gráficas.

pp

3 3

33

3 3 3 33

33 3 3 3

33

33

, *

3 3 3 3 33 3 3 3 3 3

3

3

33 3 3 3 3 3

Tenor Si b2

q = 84110

115( )

ff

pp

ff

pp

ff

pp

120 pp

ff

pp

ff

130f ,


*

f

5

135pp

f

pp

5 5

5

3

ff

voz

5

pp

f

6

.. sobre las piernas f

palmada

5 5

5

140 triscando

fpp

f

5

3

145f

5

150 155 *

f

* Aire y todos en fase y a tempo.

Tutti ad lib.

Tenor Si b 3

160 subtone

mp

f

165 175 f

TKTK

3

3

180

f

5 5 5 5

185 5 5 5 5

190 35 5

200 f

palmada

f pp

Voz

f


Tenor Si b4

Barítono Mi bCuasi un viaje

q = 6010


aire (S)

p

f

aire (S)

p

15

f

20 25

p voz

f

30

f

simile

45 50 p

55 p

60

80 q = 30

p

3

3

pp

f

1

85 q = 84 f

pp

f

p

triscando los dedos

90 ...sobre las piernas 3 3 3 3 3 3 3 3

95 aire (S) f

aire(S)real

100

105 pp* tocando sin reparar en las coincidencias gráficas con los otros intérpretes. (ver partitura)

3

3 33

3 3

3

3 3

3

3 3 3 3 3

3

3 3

3

3 3

, pp

* tocando sin reparar en las coincidencias gráficas. ( ver partitura)

3 3

3 3

3

3 3

Barítono Mi b2

q = 84110

115( )

ff

pp

ff

pp

ff

pp

ff

120pp

ff

pp

ff

f

130 f

f


, *

5

palmada

f

pp

f

f

5

5

135 pp ff

voz

5 5

3 5 5

140 pp

f

6

triscando


f

palmada triscando

fpp

5

f

5

3

145f

5

Barítono Mi b 3

150f

* * Aire y todos en fase y a tempo.

Tutti ad lib.

155 160 mp

170 175 p

voz

180 f

(R)

185

190

195 f

f

palmada

200f pp

voz

f


Barítono Mi b4

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Contenido / Contents · Contenido / Contents 1) Abecedario para Guitarra / Alphabet for Guitar ... Only the upper voice, one octave higher and adding another sound played