Tombeau Sylvius Leopold Weiss

(1687–1750)
sur la Mort de M. Comte d'Logy arrivée 1721

BVII6 BVI6 BVII6 VI.

    134        3     

2 1 4 4 2 1 4 1

 
2

      2

    
 3

4

        2
     
VII.

       1 1 3 4 3
V.
1
4

     3  3   1  1  
-1 3 -4 4 2 4 4 3 BIV5
4 1 4 2 0
3 3
2

      
4


0

     
2

        2


1 1

VI. VII.
I. 1 4 2 1 3 1 2 II.

      3  1 0  3  1 0  3  1 0               
BII5 2 4 2 1 2
5 4 2 3 2

     

  
     3

BV2
3

                3 4 2 3 4 2 0 4
3 4 BII6
7 0 2
2

       
       
3 3
2
 3

       
BII6

2 
2 4
BII3
  0 4 
BII6

  3 
9

2 2

                  3
 3
 3 3
4 *
 

 4     3    3     0          
* or 4th finger if too much of a stretch

IV. V. IV.

 23  
11 3 0 I.

1 
BII3


0

4 
1   13       
    4 2 3 4
2
4       
3
1 2

© Bradford Werner, 2016. All Rights Reserved.

TAB Edition & Video Available at
thisisclassicalguitar.com
  4       
4 1  -1  3 1 4 1 2 1   4  BIV5
4 BIV5 III.

  
BII5

     2   2  3  24  

13 BI3
   3  3  4 
4
 
 13   34
 2        2

     1 
 
3

BII6 BII5

    2  
4


2

 2  23  43 
3

        0 
16 2 2 2 4

    
3 
    4    3

2 1 -1

V. III. II. IV.

             1  4 2 3 4 2 1 -1 4 2 1 3  1 1 4

0 2 2 1 1
18 1 2 2 4
1
4

 0   
 1      

3

      4 3               0   
III. II. IV. BII5 pivot
20 4 3 4 0 4 2 -2 4 1 3
3

      
    
 2  4

1 1

  3 2    1   1   2    3    1   3   3 
III. IV. V. III.
4 4 4 4 4 4
22 4 4

     2   3   3   1   2    1   1 
 
  
    
 

-4   3           3  

BIV5
I. BVI5 BVII3
1 3

          42       
1 3

     
0 4
24 4 1 0 3 2 4 4


       4 2
2   0 2


© Bradford Werner, 2016. All Rights Reserved.
TAB Edition & Video Available at
thisisclassicalguitar.com 2
 VI.
BVII6
  
4 4 4

                     
3 3 3
2 3 2 3 2 4
26


                    1   
1

VI. IV.
4 4

      3        4
3 1 4 BVI5 3 4

  
2 1 3 0
28 2 1 4 1 2 2

       
 
    
2 0   
1

V. III. IV. II. BII6

4 3

              4
2 3 2 3 4 1 3 4 1
30 1 4 1 0

   
2 1

      
-4 2 4

 

     
2

pivot 2 3 2

       
32 2 BII6 4 1 0 4 4 0 0 2 4 0

 
2 0 0

        
1 0

                4

2 
 3
 4  2
3
 3     
1 1 1

BII6 III. *
1 4 2 0 I.
      
34 -2 2

   
0 2 3 4
    
402 0 1 2 3 0

   
1

 
3

          
  4 3 -3
4
 3
1
 
* For a more expressive effect play these
notes on closed strings in upper position.



4

    
II.

     
0 1 2
36 0 4 1 0 IV.
  
3

 
2

  
 
 
0

  1

1  
2


3 3 4
1 2

© Bradford Werner, 2016. All Rights Reserved.

TAB Edition & Video Available at
thisisclassicalguitar.com 3