1 | i | vuyys TARREOA FAL RRS tino case coe, UA NS RV IFA HEE x i é p: % (A isa BRR - — eh ETARREGA semenEMO FLL ALIN TARO CME TE AT. RET OTe Fee UNWIRED ALS CREWE PORK EO IER te ORAS IEE IA IIE MELE COPEL. Bonk a tempt, SWE LA OF 4 RID 5 GMO Ry SERENA BLE OTH HE RO BMS MTREME RBM L. MURIEL rik E WOOL & L te EL TRIMER LOAF AREAL. PHILO HBC EME IED 8 L Py BRON I YA CROMER TOA Eo TU BOM SCHED DRAAL LE LIER, PEL OMEIMET 7 a 7 REE RIE MORE i ZDRASML OTE LAST. MULT BARD RUE SOE RROMME LUA SILL TEM, HOMSRAN TBC SOL OMB te: DE GARRATS OS & EM THE RT EBAMER EHDA, MEER HAH SOL TER at Page Men ‘e. omnot Seapsan PREFACE Francisco Tarrega is considered the father of modetn guitar music. During the period of his lifetime, the style in vogue was the large-scale orchestra piece, ‘with its complicated harmonics and intricate textures. The guitar, which is incapable of imitating such grandiosity, was on the verge of being forgotten as a musical instrument. Tarrega proceeded to emphasize and develop the inherent ‘melodic qualities, he lytic character ofthe guitar, while at the same time develop- ing to a high degree new fingering and performance techniques. Along with these advancements, he also created a completely new style for solo guitar ‘performance which has endured to the present day. It is not too much to say that all modern guitarists have heen influenced by Tarrega. However. in recent times, the difficulty of meeting the purely musical demands of ‘Tarcega’s compositions has resulted in less and less attention being paid to them. Ic is my hope that the present volume of compositions will aid the guitarist in becoming acquainted with Tarreps, whose works are, afterall, the very essence Of guitar music, and in so coming to know them, will acquaint himself as well with the rich variety of musical expressions available therein. would like to express my appreciation to Mr. Masami Okabe for his assistance in preparation of this book. Yasuo AbeBR STP tegrima —— PFU-T Adelite ~ YUIYS Mariete QW-P Moria — +B Rosito = WOAZOB fi Columpio — BS vei (maz ura), tr Lo Moripase — 15 g7d te 15 IVY SRM Vals on Re nm IWS evan ——— $$$ BOR Alborada— AWA Mezecke $$$ $$ 24 ARDY Minyete — leg BIB Endecho _ a VST-IP Mologvei aa L- PRM do yy PUNY TIORMH : 34 B Sueho (estudio de trémolo) 38 PI-WOMMESRBEY. Estudio Brillante (J.D, Alord) ———-_________-_43 PSCPRBRH Copricho Arabe WIRE 981 HB Preludio No.1 BR BW2B Preludio No. 2— IME HBB Proludio No.3 FIRE AB Preludio No, 4-——————- MIRED WEB Preludio No.5 IRE HOM Preludio No.6 BIE $7 BH Froludio No.7 HIME SBI Preludio No. e————— Eee HIME ROM Preludio No.9 . eee 7 HiME MAO Preludio No. 10— HIRED MAN Prelodio No.1me B12 BIER 9819 we He mea Se Preludio No. Preludio No. Preludio No. Preludio No. RI ZAOMARILE SRM Voriaciones Sobre el Cornaval de Venecia — BRAMAN Gram sata de Concierto————— FRAGEMEMBG Toma y Estudio de Concierto (S. thalbers) ANTYBLUI—F Serenata Espafola(/. Malats) — ARDYK Minueto (G. F. Hande!) ———— ae 5— Choral (G. F, Handel) ———_—~ —___— ARTY Minveto (lM. Haydn) PYTYF Andante (J, M. Hayde) — SWI Py torgo Assoi (1. M. Haydn) ARTY Minveto(L. van Beethoven) FURTHER Morcha funebre(L. van Beethoven) ARLYK Minveto (F. Schubert) BIN Adieu (F. Schubert) RBLD¥ Momento Musical (F, Schubert) — IVY Vals(t. 4, Gerlioz) REROBK TIA Romanza sin Polabras op. 19-6 (F. Mendelssohn) 118 7 a 8 NZRAOMR XH Romanza sin Palabras op. 30~5(F. Mendelssohn) 12 PYYARYS Cantonetta(F. Mendelssohn) —— _ ‘ez HOTAS1 Reverie (R Schumann) —————_____—_—— 7 QVYA Romanza (R. Schumann) ————— — __ aa PYIVF 4-1 NYIE-L Andontino Contabile (R, Schumann) —130 FP Berceuse (R. Schumann) ——— DIY Vals (F. Chopin op. 34~2) — LII-~Y Nociwrve(.Chopin) ——— YAIVA Mazurka(F. Chopin op. 33-4) — MIRED 158 (BEM) Preludio (F Chopin) — MME 7B Preludio F. Chopin) ———-— D+ IOT Le Poloma (5. Yeadier)Lagrima (preludio) L a7 UF ¥. Tarrega AndanteFenn es oe t ese = = i 3 é T i To. =Marieta (mazurka) VUnye a idan. do atempo0 s iO) Maria 4 $ VU-7 < ag ot F. Tarregaa d iafma 7 2 T “ene 7 F if P i art¥. Tarrega aEl Columpio OOP TORSuefio ( mazurka) F. Tarrega - 7 un poco cresc. ee ig rit I Fristerioso i ‘D.C.al FineLa Mariposa o- » ee _t ee F. TarregaFr pF UD ? p > _ wu F p roo?[TIAA ANAT ” i phates add o ° = iit if 4G =Vals en Re Dey =i F, TarregaF ? P [@ritard, a tempoFine Alborada ( capricho) WO F, Tarrega ar.19 ar.19>> 99T4Endecha @-pD (preludio ) x OK F. Tarrega cr eenMalaguefia Va7T-=aY F. TarregaC4. err oO SeDanza Mora A— 7 AS F. Tarrega TER ttre Gg i H . gumeFas.attRecuerdos de la Alhambra FMINY TS ORB F. Térrega8estAllegretto molto rit, ueno {estudio de trémolo) gS etempo BABB < . i 3 3 % < iyi iia fiax ee EE ET a c ee ——= r poco rail40 Ai WRB Ba = pp as ltl Ee Z —SS —S—S r ine EBs By sme a ; = ——— TS aE By molt leg imi wi. 7 ? dim —at| fabsF 77 RT te ie ARLBLE ay $i ee pereerrencrsestee! : ° Pe tempo ? a a f ila Rie pecct perk +BY ge =e eBertpecNe I = ee —_— or aee ee eee wm Bi 1 fr eH An F r rEstudio Brillante TINO BE J.D. Alard F, Tarrega caresha ace et did ote ne ey ane we Ak wyvECe oc ¢ we ee eee eek weekCapricho Arabe THIET aE F, Tarrega pig PE ies : _ SBARS7?) ee SaHI +e Hit 4H i 4 i] 4 4Preludio No.1 Rizth 1 P poco rit,31 Preludio No.2 nized 2 F. Varrega 5 poco ten To Hh + a _ a rere 7 + ? molto rit. = = = 2 =52 Preludio No.3 Rid 3S F. Térrega Allegretto decresc, tree Ln nage agerPreludio No.4 aie 9 A . ce Tarrega CO ——— =. 1 C7 ca aa a tempo y=54 Preludio No.5 Rizeth OE F. Térrega Andante Sostenuto C2... —— ie a un poco cresc.Preludio No.6 Risth 6 F, TérreyaPreludio No.7 Hh BTR F, TarregaPreludio No.8 Ash HBS Preludio No.9 Rh OB C2 ca F. Tarrega F. Tarrega 3758 Preludio No.10 Aish | 10 Preludio No.11 Byes $611 pel a 1do * F. Tarrega a treme Y ie ¥ x * r ’Preludio No.12 Bi SHh B12 F. TarreyaPreludio No.13 RizeHh 13H Risedh BLE F. Tarrega Aan oe aero HE SRC eePreludio No.15 BiH | 1S F. Tarrega ce ca cs ts62 Andante Variaciones Sobre el Carnaval de Venecia na N= AOMARIS £ SBE BEI pre Tp pet vom Em why lo : " eal63 Tema Allegro eeVW “MI al) yl WH all 7 +H Tits -y wi.phage» COURT AE RE EeVar.52re1Gran Jota de Concierto RMRASAKAZ Introduetion Cs cs Chee eee oe op OD aa for ete ee BTiS Th ont 2?ard Var.5 F go ied J og = F aliee em tt Kai tm ee jatad 289 yid ad oy ddd dy FO FR RF FO FR ror FP 4 (1) Tabalet 8 compases ad libitum VVOVVV VY VVVV VVV VY OVVYY VY Y VVVY OY 97 Ly HOSE SHIH DUNO 2 DUKE DC ABODE Var.8 th we doy ddd wide dy ya S¢y ade dds dy dy 4 J Tabalet T F T 2 44g dda a4) dy te je 2 T T 7 F F F T ‘Tabalet rallentando | nm PAMMECLESIEINL BE IE Var.976 Ver. Yar. 13 Var. VPA REMLRC, BRAMAN EH EOC mano izquierda sola HB EROTOSVar 15 RPE COK Var.17 tambora . 4 FORA EFRITOMOIEG ERE) Var.18verve ee eee eee aeVar. 24 Var. 25al Tema y Estudio de Concierto REAAEMCMA ‘S. Thalberg, F. Tarvega Allegretto Sacuerda. =. 4 é82 ae emI] ~ I wU} 8 ~~ 7 r 1 oe MI ~y a os Famers ett ° a Pa Peoc wee Tle oe PT FDleggiero85 ca...cresc Poco a pocoSerenata Espafiola ANA Y RRIF co... J. Malats F. Térrega = SESS 8 A RTEHie ne HieMinueto ARDY @-p GF. Handel tateC2. Choral uae G.F. Handel F. Tarrega : c2pe 98 Minueto ARLYb J.M. Haydn F. Tarrega> Andante oa TUHUF J.M. Haydn F. Thrregs cz. ad id oF = 1 ect98 Largo Assai SNAP yA J.M, Haydn c ca... . F. Tarrega ep? a100 mezza voce CLpy. 34) 101 d- je : Aff EE ap tt crs . ce <3ee qa eee eee £8 25 Be Bs 5 a ee a 2H g Ek 2x ae oe 102al a 4 I sa ay 1K 8 an 1, a tempo al aMarcha fanebre BEA 17 HEM L. van Beethoven “arrega PR pe Ere t sap108 Ee109 F Schubert F. Tarrega Minueto ARDY b Bd a ral es tr a ee es aayy 7 IIDIDIIIDG ( He uor@ Trio S g : PPP molto legato + af. nL12 ~ f &: Adieu 3 = Ba op NF e201 F. Schubert F. Tarrega cz, cayMomento Musicalus16 Vals PUY (PrIAPMM EAS) ce. ae) d a i LH, Berlioz F. Tarrega te \ te he be - iw w * 2m ae a a om a |ur8 Barcarola (Romanza sin Palabras) F. Mendelssobn N= ADF ELT F. Tarrega Andante sostenuto (eam GP eear39 ar39 ar.199r39 ne Cheoaad120 Barcarola (Romanza sin Palabras) NSADTK = a8 dos ar.8dos F. Mendelssohn F. Thrrega mn122 Canzonetta AUIAR YB F. Mendelssohn Allegro moderato(J~76) ~ CHK123 Un poco pitt mosso eee eeehry 125126EP EVES ES ES IS EIS ESSN128 Romanza uoyvy,z + ¢7 F. Tarreza asi + i cml yal -awatorc cre Pa |130 Andantino Cantabile TYILTA-7 APIE-L R. Schumann co F. Tarrega ha Hie Ha 2132 2 Berceuse + ¥ Bce a we ee Vals DILY tPiK34D2 dp imi 5 a{e 135omy aly idly138 JIB-Y F. Chopin F. Térrega Nocturno | AndanteM40ML142 Mazurka AIA MEABIOA oD ait pr Tner r 2: i a] | fh a Giada el oni Vv fe “4 4 cy ce 5 Upon cce C7 c6e C7 ce coc oF —— . Wasi. | , G jo >a 5 "fo. fo i i a | iis ai cy wi a" aide ? Preludio BUS B15 (MAZE) Sostenuto con espresione cn oc: cr ur F. Chopin F. 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