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Asturias (Leyenda) Isaac Albéniz

(1860-1909)
No. 5 Suite Española, Op. 47

         
1 0 3 0 4 0 1 0 3 0 4 0


              
  


3 1 3 4

   


 


6 1 3 4 1 4 2

   


  


9 1 3 4 1 3 2 4 1

                                    
1 3 1 3



  
 
  


12 3 4 1 3 4 3

                                    

 


15

                        
1 1 3 4 1 3 4 1 3 4 1 3



A TAB edition of this work is available.


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


17 4

    
       
3 0


      

p

         
3 4 1 4 2


19

             


21
            
        
   
 
4 4

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


23

            


BVII6

  
3 0 0
25
 
4 0 0 1

                                
4 3

 
 

             
3
27 1 3 4 1 3 4 1 3 4 3

    
   

  
29

                                

 
A TAB edition of this work is available.
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 
31

1 -1 2 1

                                 

   
IXpos
 
1
4


33 2 4 1 2

 00               
 12                 

   


                          
35 4 1 2 4 1 3

          
 
BVIII6
 
3

                  
4 4 3 4 3

 2     
37

     
 3    
1
 
BVII6

                          
1 1 2 3 4 1 1 3
39

         
BVII6 BVIII6

     
3

            
3 4 3 4 3 4 3 4 3
41
         
       
 

              
43      
  
        
    

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BVII6

                          
3 0 1 4 1 2 1 4 1 0 1 2 4 0 2 4 0
45

         


           
2 4 0 2 4 0 2 4 0 2 0 2


47

            


49 1 0 3 0 4 1 3 4 1 3 4

                        




51 1 3 4 1 3 4 1 4 2

                        

BVII6
3 1 2 0 0 2 0 4 1 3 4

 1 2 1                              
53 3 4 -4 3 4

   
    
 

                            
55

        
   

4 3 4 3 4 -4 3

                              
57

     
 

A TAB edition of this work is available.


© Bradford Werner 2017. All Rights Reserved.
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 

2  3          
1   
1

  
59 2

         
4 2 3
1 4 1

        

*Or harm. on e-string, fret 19 'B' instead
of chord (Segovia, Williams, et al).


      
   
63 1 BII5


 3      



4


3
2
1

expressivo (poco rubato)

 
  
  
BIII6
67
 
 
       
  


2


4
3
1


     
1 1 0 1 1

   
1 4


71



       
 


3 3 3 3
2

BII5

 
     
 
BIII5

          
75 1


 
3
2

   

4



1
2
1

BIV4

4


1 4

         
1 1 3 1 4 3 0 0
80 1 3


  
2 2 4 3 0

  
1 0 0

   
1

   
 
 4


85
 42   
0 0

  
2 3 0 1 1 2 3 0 1 2


4 2 1


   
        
A TAB edition of this work is available.
© Bradford Werner 2017. All Rights Reserved.
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
89
 
1 1 2 4 2 1 1

         


 
       
4

 
0 4


93 3 2 1 4 3 1 4 3 1 3 2 3

               
     

97
           
4 3 0 0 4 1 0

   
1


3

   1   3
      
4

0 
2

 2 
1

     
3 0


101

0 0 1 0 0 2 2 2 4 2

     
4 0 3 0

       
1 3 1

0  
 0 
   



0 
1 
3 1 3 0 0
0 1 1

   
2 4

          
4 3 144 1 0 4 2 1

    
2
104  
1 4 4 1

 
-2 1 1 -1 -1 2

 
  
   0 
3  

1

108
  
                    
 

BVII6
3

          
3 4 1 3 -3


112 2 1 4 2 3 1 2 3

 
4

      
  
 
A TAB edition of this work is available.
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VII
114

 
1

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

  

 
     
BIII6
118 
          4


4


1 3
2 2
1 1

D.C. al Coda


CODA 
 
 

   
123
 

 

   
 
 


      
BI2 BI2


128

2

 
3 0 1


3

   
4 0 3
0
1


3

Quasi Andante

                        
2 3 1 3 1 3
132 1 3 4 1 3 4 1 3 4 1 3 4

          

 
 
4
 
 1  
   2   00

1 3 1 3 1 3
135
    

1
0

       
    


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