ZEN-ON GUITAR LIBRARY Pm MAA TVUNAA FIST FAA HEE BRK Ate L ALBENIZ E.GRANADOS © 2000 by ZEN-ON MUSIC CO.,LTD. SametUwOIE TUARER, TIF KARR RIROERT, 2 AA YERERRORIUAML, AA YEE BA ORVOTYFY ALE OT, KE CRMT, RAY EBY EC RALIMRE BLETLIG6 HEHT CRRETAARTTA, FOHREEZ—T BUH A YBS ELT CRRLES ROE QOTHBLUICMI ET THD, TORIES OFF VA MRREN, MERTOLIN- HY E LE, LELEFO FS AMA ONTHETS KWAT UALR, SIF EAOS CL OROHD DS, FF CHEMROD SEREMOE LOTT. CNS Ofte MRIS LIL, FI EMS LTKRERT DIED) CRC, RRREMY LTT BRED —PU-EMIACEERETLIEI. 20008 4 AL Bra Baba PREFACE Isaac Albéniz and Enrique Granados are both folk ‘composers of high standing. Their works resound with the drama and romanticism characteristic of Spain. They are said to be perfectly representative of the qualities of simplicity and rich emotionality so expressive of the essence of the Spanish spirit. Because both composers happened to be accomplished pianists as well, and strived to produce on that instrument the same qualities as san be expressed by the guitar, itis not surprising, therefore, that the resulting guitaristic musicality of their compositions ‘make them favorites of guitarists. Their works are more often than not included in guitar recitals. ‘The present volume is made up of works judged especially suitable for public performance. They are not only judged essential works for basic knowledge of guitar repertory, but also preferred as performance materials. ‘April, 2000 Yasuo Abe Yasushi AbeCONTENTS Isaac Albéniz 1860~1909 ‘Tango BLA chit [ANY] (GODOT WK —7) HemRI6S IED Malaguefia PITH Cis TARY) (6207 WI) 7) HEBI6S HED Granada (Serenata) DSFS ARAM ERAT BLE) Sevilla (Sevillanas) TL U ae CRA A FFRST HED CAdiz (Saeta) DPIA (ACA YAM HRT BABY Asturias (Leyenda) PARGUPR (AAA vA ti SED Cérdoba DUVEIS Gah [Ad YOR) $6232 BAB) Rumores de la Caleta (Malaguefia) AAD EHDE Cho Bows e471 wow > Torre Bermeja (Serenata) <12 Piezas Caractersticas 0p.92,No.2> REO 208s (292 12> Zambra Granadina (Danza Oriental) <12 Piezas Caracteristicas Op.92,No.7> PLD S FSF FI-F 20 HRM felh92 BIE) Mallorca (Barcarola) 0p.202 Van Enrique Granados 1867~1916 Oriental FULL (AA1 BM fesR3T BID Villanesca_ TIVeRAM CA 7M HBT AAD Andaluza (Playera) FLAW H CAA TR (ERT SHED Danza Triste HEL BER (act ysis f37 B10) Zambra SLID ANA BK (637 BED La Maja de Goya AVORK ht H 104) Valses Poéticos BOTIREH 10 14 18 24 28 34 40 46 52 56 60 64 68 74 82 86 90Tango Suite" Espafia’(6 Hojas de Album)0p.165, No.2 y HE ARE 2) (G2OF ULI) AF AIES HE ay 2 fae = ? = poor HI a] el om Tf.10 Malaguefia Suite “Espafia” (6 Hojas de Album) Op. 165, No.3 NIFH a* MB (ALY) CODT MIA —7) Heth 165 BIH L Albéniz—= — pp cantandsSf sombre sac.u Granada (Serenata) Suite Espafola Op.47, No.1 FATT Allegretto (A84 YB) PEGA 9 L Albéniz Cr... a C6. cr : Do DQ » covndscpraso ete en ca. r Doptiono. poco rit P dole gato16 2) arm. Bde... pp puorit cantando sempre CBee Cece + C8. + oS 7 P se ican © 2) mag BRODIE m, @ THURMAN, 1177 TRV— E97 AME, BEARL BT CRMERE HO IVI LESAN, MANERA. Play the both notes with m and a like standard double notes and touch the string atthe nodal point of 12 fete higher than the written note with the right hand index finger f to produce octave harmonics.gk ale rit arm, os ———. Patempo poco rubato cs. WW18 Sevilla (Sevillanas) Suite Espafiola Op.47, No3 £7I—-I (AR AYAB) HAT BO L Albéniz 328 Allegretto ome & v ——$————— ‘poco rit cz. Depug 1 fA TBD AOR EHOPUDMELTRE Baer aE. ‘Taough the chord in the 3rd measure may seem dificult wil make the playing easier to hold down the bigh B noe in parenthesis since the bepianing. 2a & arm, os. ko Ile 93a tempo dim P me rit, wm pococa. : Cae poco rite dim.Villanesca Danza Espaia Op. 37, Nod Eye RAA AY) FST IAB BE, Granados 838 Allegretto, alla pastorale EP eT ek oe uo) » 17, x 4 yp 2 a af 2 4 a am? t poco @ poco erese.ar; 2 7 Andante espressivo Andante molto 7 mi ie Ike ©. tr 1 Nr trCB Meeeey C6 Ca c rit, moto dim.Andaluza (Playera) Danza Espafiola Op.37,No.5 TYIV—H (ASA y REM) HER 37 BS Andante quasi Allegretto E, GranadosD Ca. OeD try a ar , Ec Le ro oF OC? stomp ° a . on reer ory ptf ers (pit doe e ra hy @ 4 rLIwLy py Ur Andante C2 5 Oea em. o.oo Cees C2. “mee (TPT Tempo I ®4 Danza Triste Danza Espafiola 0p.37,No.10 ELS SHH RRA HH) 165437 810% @-D E, Granadosb76 Tempo I amt am Oa @ ‘poco ra1td ede ammi2 waz arm.2 Tempo I81 arm ama @ 3DZambra ‘Danza Espafola Op.37, No.11 HUTS (A847 B®) P37 BU o- E. Granados Largo a piacere a & Andante con moto ¢» poco ers f rit, molto P Se) RREHEM SOLS, TELM ARETE “The rng finger a shold be placed onthe 2nd string to avoid unnecessary sound.> dl 5 ar ens = CEE Lire Largamente (como recitativo) ag ct = 7 cs. ae cau 3% 7 ot dm. o a pf ————— in moto vt woe (Pa tempo misterioso com sentiment= man OY zt eJ[ 7p t? cs Pe es ae i ee 4 tempo misteroso ce.La Maja de Goya Tonadilla IV ORK 749%) E. Granadosa7 2 £ 2 = C3 Mey ca, C3... — cs. a + C2 arm os 7 armas oT armas. arm. armi2 ® ® eo i iz.ca Coe cee Cae CEM ay bi ptValses Poéticos ROTI E. 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