:MAURO GIULIAN'I

:METODO PE:R CHITARRA op. 1

12,OARPEGGI I ESERCIZIPERLAMANO SINISTRA I TENUTA DEL SUO NO / 12 LEZIONI PR'OGRESSIVE

(CALIENDO)

.~. D .· "'.·.··D - .. - D -.' "

B~EN

PREFAZIONE' DELL' AUTORE ALLA PRIMA EDlliZIONE DEL METODO

Fu sempre lo studio d~ll:a. chitatra Ia mia £a'llorita cccupaaione, e in questa aspirai sempre con tuno 1 'ardore alla perfezione, Cereal dunque la. via .piu facile: ~c-o.rt:3. per arr]vafe a ql.ll£:S('O' ~:po; ma avvl:;;~;i t,Q$lO I;~ bisognavache rne ISi tracciassi io stesso intersmense, e cite il cammlne dell'ideale ehe rlempiva H mio spirho non era state per anco bauuro.

PeltO U mio zelo of: ]a mia costanza mi v3iIsem qualehe s1.l!oce:soo, e rosto nacque in me H desiderio di renderne parreeipi co]orQ ~he percorrono la stessaearriera, diilipOnentdo peroroirile gri insegnamenn, frurto deBe mie ricerehe, oridtl preservare g]i studiosi lit! ogni sviameneo ;f! dar low in meno unaguida tanto 'i1UOva che sieuta, e tsle infine chea mio sapere non e msicomparsa.

Questi studi sono i~ risultato dd~e mie fatiche constasate dal]a esperienza e dalla praucai « oso presenrarli al pubbiioo neil'intima perseasione tile chiunque vorra occuparsene seriarnentegiungera in breve <I. peter eseguire con espresslone tutto do ehe fu composto in un genere piu. corretto per qu.es,(O istrumento ..

Parte prima; Eserc.izfo partiro]arf" per Ia mano destra, cha eontiene ce!],toventi a:rp@ggi in tutte Ie comhinazioni,

Part'e seconda: Vad esempi nei toni p.iu usit:Hi. per la diigitazione della nl:iii'i:o sii:i.istr~.

Parle !e.rztl..: Altri e.~em:pl me eom. p!:',endooo la ma:ggiar parte degli abbem;nentj, di cui e suseertibile I'istrum.et'ito ..

Parte tluar/a: Dodi6 l~oru progiiesstve.

AVANT-PROPOS. DE VAUTEUR A LA PREMIERE EDrTillON DU METHODE

L'e!uJe de la guitare a .t(julO;ur~ ete .man QtcUpat.ioh favor#e, Jans leque/Ie l dJ p';rai de tomes me» forces J la perjtenon,

P at' done chen:bt la vote la plus Wur'te et La plusditecte {lour (Jrriver a ce but; mais ;e vis bienld/, qu'it failait me l« frayer, Itt que le cbemin de l',idea.l. qui remplJsst.fii mo« a,me, eta.u. fnC-Orc bien loin d' etre b(}.ttrl.

Cepe-ndan; mon' :ze/e €t rna c~nstance me vaItm:mt quel'1.tte succes; oe

). ,. , . d d£' .1, f:··

JUCCd .ut sutV! . u . d.tr a en: lItre'

par.teciper tour ceux qui auraieni envie de lNIJ'CQurir fa mime carriere'" er ie commem;ai pal' mettre en ordt~ les fruits ,de mes recher:che.~, pOUT preserver Ies amateurs de tm# &art, en J,~ur d{)r.m~nt en main un guide tlus$:i Sal', que nouoeau, (1 tel en/in, qu'J m« C01JJt;ais sance if n' en elate poilj,t encore paru.

en etudes S0'11J le rhuJtat .de mes tTtJVt1w:.; constates p-ar l'expel'ience et par {a p1'atiqUJi; et lose les presenter au public asec Itl per£ua.#on imime, que tpdconqulil voudra b,ien S'e1.l occuper ~li7'ieusenu!nt, parvierJar4 ~n ~u de !,em.p$ J~'x~cut,C'r 4:VCC sC1~titnC!N ~(Jl{t ce q~u. a he comport? pm:r c~t ms.tf,Umr!Tl.fdtlm un genTf! plus epur«.

Ce'! Oifvl'age est aestin.e a C(J.ti.X, qui pos s:lJent deja 1e 5 pl'ttmlerreJement s et qui ahirent se pefj,ectiott.n'e'f d' fJuantage ram i'aMe d'un m41tre.

Premiere pattie:' Exerci.(;ep(l1'tic.ulief pour la ma.in droa«, conUmrlJU' cent et vingt .arpeger dans. routes. les ·;I)mbhr·airotl$,

Seconde partie: Dlffel't71u exempJes ,. dans les ~"On's ies plus· urites, pour le doi:g:h!"rde fa main J],tJU'chtt"

Troisibne ~)arrie-: Autf,e.S ex,etJlple.r, qui 'ctHnprltnnent ttl piUp4rf des '!9Pd • men!s, doni tins/rumenl est susces» tib1~, .

Quatriertle patti~: Douze leronrpro" gress.itl(!~,.

AUTHOR'S PREFACE ToO THE fIRST EDITION OF THE METHOD

My favourite {ICcupa:tion was al.

W~~'!> the s,rudy or ih~guita.t, and I aspired with all my POWeTS to attain the highest perfection in the k.i.lo\1l'l~dge of this rnsrmmeot,

I searched for the easiest and !jhQr·· ~es.t WllIY to· attai.n my ends. I :500il realieed that I had to milike my own way entirelysnd liMt 'this ideal. which filled. my spir.h: had net yet been attained by .ailyQ!!e.

But my iie8iI and. my pursuanee did gjve me some- success, and SOOfl. I wished too inform my colleagues <1!bOl!lt the fruits of my research by rearranging my te.:achi.r!(gs,. eo preserve them from any deviation and so put: in theie hands a guide both new and triedl. which as fu.r as I know, has never appeared),

These studles are the result of my labours ascertained by experience and. pracrice: :I: dare present them to the pub]ic in an Intimate persuaslontrhat whoever wishes ser.iously to try them, wm b~ able to play ex;p~ess.ivdy IiU thiU was oomposed il'l 11 more correct style for this in~tl'um.ent.

This WQ1'It Is d~;S.dned to those who alreadv have mastered the first ruemears, and who now desi~e~Q perfect themselves wi.hau t jhe aid of an instructor'.

It is divided in four parts:

F irs tPt1rt~ Special exsercise fo·r the right hand, ron'taln]l'I{l OM IrO['idn.~ and tW'ef.l~y arpeggios in all combinadons.

Second part: Various examples of the more commonly used tones £o.r theexercise of the' £ln8J~·J.'.S: of the left

ha.nd. .

Third lUge; Other examp.!~ wni.cb COO.1l3t.ll the greater part o:f .11(:' em, heUishmMlt:$, to whk:h the mstrumet'l.t is susceptible"

p(J·a.rth port: Twelve pr-ogressiviii lessons,

7

PARlE PRIMA 12ija.rpe~;g:i.,

E5e;I'C~zi per la ImaflocteSU:a.

PREMIERE PARTIE 120 ~I"pegli:s.

E"ercior13:i pou'!' Ia main dtoi~e,

FIRST PART 120a:r'l'~~~

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PARTE SECONDA

SECONDE PARTIE

Exe,.,ci5~ I'ollr 10, main gauche, ~autJ deiier~.e$ en UT Mareur.

SECOND PART

Exercises for the )t'!ft band.

Tblrds In C-Maj or,

E~ef'cizj per Ia mano s,in~stFa. S~lti di ~er:t;a ill DO MaggiQre.

8: 8 .lI 3

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Sa,ut',$ ,de Diriemes en ur Maieur.

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Sixths in G.Major.

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12

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Saki di Terza In LA .Maggio;re_

Thirds in A-Ma.jot.

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S~d.ti di Ortaea in La MaggjoH;:,

Sd.uts d'Dc/aver ttr. LA MaleUt,

Octaves in A-Maim:.

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PARTE TERZA

DELLA TENUTA DH, SUONO Si ortiene Iasciando feclI:ItIO il dito SUit. Is. eorda pt:r tutto it valore dena: nosa Nel seguent'eesempio do \i'a~)sset" vato pet ~ bassi

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TROl'SlEME PARTIE

DE LA TENUE .DU SON

1'H IRD P A R.T

3,5

II s'obli£nt en maintcmmt le a(ugt snr la .tarde pelfdanl IQ1Jif la uaieJlI' de fa note.

Dans l'exerciee suivtlnt., cea NUl' paUl les basses.

SUST AINED NOTE

This is obraiaed by krepi.J'lJg the finger 0.11 tlhe suing .f6,r the EuUl,ralm: -of the nete. _

In the following example this ~s wha:E should be done- for the bass.

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m i m o 2 I)

J -j:;)J

m i m i m 1 ~

o .~ . 0 1 0 4

c:~ 1 - J

p R.:J tJ: kl

"' c~

p ~

p

p

23 15"P p'

3

P

.~

p .

to:. H()S B.

" -- a l m '" . {I •. ,

jn

t;7

I

36

DE1LO SMORZATO

DE L'ETOUfFEi\ffNT

ON MUTING

Si lasceranno vibrsre i SLlolld per un sedlcesimo, indi si amorzereano COil Ie dira della mana dews.

On laissera tes SOns vibrer pqndant un' seixieme, aprls quOt em ~tr?in'dra r·e son ,avec its .doig,ts de ia Il1ain

& draite. &

C!lt t' .,,~. m

!..J'osem1lll. 'O~ 1 Ii 1_ l 1 ·qti

'_~i1i~jS ft if; !iii 1 Waf,,, . $! "~p t!! I

, 3ti;' ·~t i' 3t ; ~".!r ~, Sf l' T t{ -; 2., ~ ", ri ''J

p p P P' F P

;ql, -

J.

Let t.he sounds vibrate for a sixteenth and] then seop the vibration whh tbft fingers of th~ right hand.

2-

P a i

p

.. 1

.• ~

t::; , rs b:' +s» 7 tj i ['1' '1' t;, .

.. pS .3 3 3 ~3 ',~

pP P P P P

DELW STAOCATO DV DETACH/;' ON STACCATO

Si alterneranno I'indice e il mooio, della mane destrs, oO!1'1~da lndicazione sulle note dell'esereisio.

Off aJ.J:emera l'index et Ie medi~m. de fa main droite, comme . inJique sus lei notes de l'exercice ..

AIt,eti'i:lte the index and middle fin, gers of the right hand as indicated on the notes of the exercise,

mIm irom 1 .2-04 21 ~ 1

'.~====

·r

p

r

:p

p

31

Jor.1 .i1'J~ ,~m i m. i

I • __

- , .

-- 11,

DELl'APPOGGIATURA (BREVE)

ASCENDENTE

$i p~zzKhed i.a Ilo[aap~ggi:.H3 e &i lasct]3 csdere il s:t"oo:ndo d:itG della m!llllosinistnl a matt,eHo sIJJh ilil."!t:S dd!a md@di~.,

DB L'APPOGL·1TUR.E (BRi!VE)

ASCENDANT

Ott pi'ncera /0'1: note Ilpp,uyee et Of,; laissera tomberle secand aOtgl de fa main gauche sU1'ta noee de fa mi· Jodie.

ON THE. {SHORT) ASCENDING

APPOGG'liA IURA

P]tlck the app<l'ggi.alUt~ note and ~l!~()\\' the second finger oi the left hand to f,aU Iike ,~ hammer on the ~trin~ of the note of the melody.

i

, ','

I iii

In,

'1 2

i

1 ~

p

m

'I.
3: a 4
'I .... 1 m

m. ~ 3 4 1 ! ~ ;


1
P
i m i
~ 2 1 4 ,2 ;'j
Ii 3 I -I •• 1 r·

p

t

1 2

.,:1

-r.

p

p

,..

F


:p
i i m "1
1 2 .I\l -l 0 .. i

1 J!,

m l.

3 Ii .:I~

.h.J. ~ 1

p

~p

1l :2;

p

,.,,"'l1lI

~',. ;_. ..

p

~;v. #7~ P

38

DELL'APPOGGIATURA (BR.EVE,~

DISCENDENTE

Per unire la piccola nota. con. ql!l'~I.I:,t. deUa melodia,. dope averla pizzlcat<l, si strapped b corda con i1 dito della rnano smistra, oriazorrtelmente.

Grasiose

ln2 1. i :m

- 4' 2

·tr ~ ~

:5

,

p

DE L'APPOGJ.llTURE (BR~VE),

DESCENDA.NT

Pour emir fa petit;; »ote J celie at· Itt ml/'odie.. apri15 aV{)tl' pifu;e" Qn sontev£'ra la corde avec h: datgJ de lu nt4in f/llJcbe, hOr'i'!()'ntale~ment,

0\J THE (SHORT) DE~CENDING

APPOGGIA TURA

To link lhe small note eo that of the melody after !nwlngptll!cked. ~t, dr~g the str.i:ng horiz.ofitaUy with the finger of the left barrelL

__ -_ -
-3r-- , ~ !2 r ~
p p p
p'. P
1
i III
4 3 1. 0
, V .. -
- ~ .....
r.
p p p P
i
3 1 p P

DELL' APPOGGlA TURA

DI PIU' NOTE

Dope ~ve'r pi7.zi~w la }:lrhna delle d\,C note piecole, si lasceri cadere a marrello I,e! a]ue due dita, ddI!! mano si- 11,i;stra, alternativemense sulla stessa corda

r· _,

p ,.~.

1 :2

4

i. m 2 1

m

t 0

"_.

i

i 0

~ p

p -

DE L'APP'OGIATURE DE PLUSIEURS NOTF\

r

p

- THE APPOGGIATURA OF SEVERAL NOO'ES

,

p

p

ill

I~] or :

,

m.4

11 2-e

e'lt:!:

+

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~. g :1

p

,

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pP

~ m

l.n .. ' T1j~... ..: .1 ..

I m 1 2 ,

2: 1 n.· .

,

p

p

m o

JJl. .2

,

AL'.rRA APPOGGIATURA DI PlU' NOTE

AUTRE APPOGJ ATURE DE PLUSIEVRS NOTES

ANOTHER ,APPOGGIATURA

OF SEVERAL NOTES

A fter ha'i..'ing played the second of the' small notes ;; d;mg,'" with the same fioger of rhe left himd.

Dope aver batrum :13. ~"Q11da delle picecle note, sl strappa 00.1 medesime e.!i~Q deHa mane S]I!Iistlta.

Ap~e.s (1v!)ir lrappe fa .secondp de) netues notes. ~)t1 :fotli&ve euec t~ 'ithJ?(, .c/()i,G'.t dt! ttl main.f!.tl.ffl'ht!'-

Andantino MOSSO

1

!Ii'--

p

{I p

p

-

,.

p p

DU GN.U PPETTO ON THE TURN

It lobtiem en pin,fant F!!uhtw:m! J~' This is done by plucking only the p.remifrc des quatrr; notes; la seeonde first of the fom. nones, rhe second se sotdiJ:vif:, id troisiemi? et la qua/de- is "dragg.ed'·' ~nd' the third <lJndkll,.H'th

me se frapp~f1! et le r;iliq~l",reme se ~:r.'e. "h;;lJmmel)ed" and the Mtb -dragged.

.tot/Jew

DEL GRUPPETTO

~,i esegue piz;,:;kJimdo solu I.. pdJifHl dd leguaul'o note, l.a seccnda ~i strappa, li! .~r:;,'il. e la qll!lIir(ii ~i battooo ,e; 111 (p,lin rrn ~l strappa.

m ."

2 .. , ]. _2., 4 2~

lfJ2 •.

'=- ,e

=:::-

r'

m+

tj ..

rfl i

sill

III

, 1 2·)j :2

:m

t. 0 1 ;2 i

,.

"1 .2 4 2

- I ~ ,

m

E

.,

r'

m ,:; . m,~

21 e , '. I ' .• ~

- ' ~ . . -' I

~dE=

r"

-

,

E. nes B.

OJ UNA APPOGGfATURA (8REVE)

MOLTO USATA .

IYUNE .4PPOGIATURE (DR,EVE) TR,ES usrntE

Si esegue come per l'esempio q uinto

Oil e.wh'ultl cO.mme I' exemple cinq;

Allegro spJiI'itoso

41

ON 'THE SHORT APPOGGIATURA WHICH IS MUCH USED

See example n. 5

9

III i m i

-iN 4 r 2.' !ID .... oi

.Ji..... j'R:tM

::~

r

vn

.,-'~

m i ,

" .• 1.

4N U.I. '.1. .". m -'

~. ,L 2 ." 4- 2

~. ~,~n~ + I

---

.1:" l'

@l

t

1

l m 4

r

.: ..

~.

m 1m .. t. i

1.442 '1m

~ I~l 0 1 m

,- == !L!?,zt.·.· 12) Q. - ,ii_ ••. ill

E. 1]0-.'1 H.

lP

r

.Ill

Ir :§§

II

42

DELLA LEGA TURA DE LA UASON

SI pi~~k~ l!! prima nota. e 51 baue I~ C)» pinrf! ta premiimfI1r)1~ en .oJ!

seconda 001 dito della mane- si [I~.sai3J. .I J'11 P p(;' la ttl'cond e r:l1'N ! e J ()If,t'd:, ta ma.i.i1 gauche_

THE LEGATO Ol'lepll1c;:ks dlenl:~t[)Oleallid "~ammers' the second wi m rh~ fi:ngcr of the Je:h hand.

HJ

·1 4

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I. ~ ..

4

n·~·

.

r

i r

~. I

-I

nm~ .

.

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r i· t

K HO& S.

r

OEL GLISSATO

Con jOo stesso dito the preme sella nora <1Jppoggia~ll, d!o~o avel'l.'1 fatta vibrare, SI striscia fino alb Ilomsurce:isiva dell~ melodia ..

Allegro moderat« i

n

II

r

DEL TRILLO SEMPUCE

DoPQ a v er p1:i;z:icatO la prima nota, si Ia- 5C"ela cadere il diro della mano iSinistra, (on forza eripetutamente, sulla nota superiore in modo da £arleris.,;!onare [UW;: e. due.

£S, 1°

DEL TRILLO SU DUE CORDE Questa trillo, iJ quale 1'1.10 avere piu CtlI:'lt:iIl.uil~ di SUQm), ,e prde:tIbHe a quel- 10 d~lrell!eml?iQ lQ. Si puo. eseguire COn "indice e 11 mcdio 0 pollice ed illCike Jell,. mano destrs,

Es, 2';

DU GLlSSE ON THE GUSSATO

Avec ll! doi:gt qui ttxh;ute la ftoteap- ,X'ith th~ same Hn;ger 1):I'es'5 on the'~p, puyh:, .aprh i'r!lDoiy Jait .vibret, Off gli:J.H? poggiRtllta note. aher having made it jus'qu'a fa note suiuent« de ,{Q melndie'. vibrate, slide to the foilowing mdodi<;

note.

i

DU TRlLLE SIMPLE

DO TR1LLE SUR DEUX CORDES Ce trme, qui donn« f{JX son plus contin«. est prefbabl.c a celu! d~t leI' exemple, On peu! J'exkmcT lttN:t· {'index d ie meditmi. (It! le pouee et l'inde»: de: hi main di'fltte.

P.i PiP

2em.r ex.

IPiP1PiPi.PiP

i m

Ij.

,

..-

~: r

Apds avoir pipic6 i'.t premiere note, 011 laissera {f)mber le doigl de ls ma.illga:u· the, avec force et pl.usieurs lots. ser la note supbieur~ de farO" J. les laire re. sonner tomes res d:,ux.

m. J'~,. ex,

L . .,... . . . - _.. I ::;:::

0202;0('202002020 2o~03

'C;CCCal Et·~ E E£CC r£ E-r' '1

SIMPLE TRILL

Aher ha.~'il:lg plucked the first note allow the fiti.ger of the left hand to fail ~ol'CefuJly and repeatedly on. the upper note so as W make both oi them v ibiare .

bte;<"

TRILL ON TWO STRINGS This trill. gives gl'e<l.rer wntir:llIit~p of sound ,and iii preferable to example l5L It can be ~rformed whh the index and middle finger or: w:i~h the fore finger aad thumb of the r1ght hand,

2nd O[~K"

DEL MORDENTE DO MORDANT l"HE MORD,ENT

L'esecuaione ,avviene n,ell.". stessa manle- OJl' J'txccuff: de la mbm! !1NJJ~itrc tlU,(f Performed 1n thl; same w'av :'IS the

ra del [Lillo. 1< lt~ triNc. .j, aUt * .

* Tale indicaaiene appar.e illacl.eg~lat<'i peH:he eispecchla 11 modo in cui ~kllnl c::bvkemb:!l,lisd del seicento solevano eseguire 1.1 mordente, ed III ,qua.le il Giuli:~ ... ni esplicnamente si ri.feris(t quando dice, nel testo Qrigim~.h:, che « 11 mordente nOll e aitr'o the un breve tdllo, il qua" le s,l eseguisce nella stessa maniera»,

N,d"R,

maniera di scriven: . m.(}.nii;rl! d'hriu . way of writing

m ._. __ .................. ~___ i 1II. i m

1:f 'r-~

* VII" Ie-ill? indication u·mbic pe« approprMe car die reflete ll1 md:Jtiere dont certains cim)Ccinis~es drl d;i>:·,~ep.eienu avai,mt J' habUude d-'exJ~~Jur:r le mo1'dam auquel G'iuiiaJ1i $f,,.'e/ere explic.itc~ metu /arsquW Jil .• dans .Ie te-:de (Jl'igil1.aC. que «le ll1.Cmj,,11U 1$' es: qtl'UlJ' b'iUe de cowie Ju;tee f1I do;f etre eX;2cutc comme It:! '''.

N,dJ?"

* This informatiOIl seems to tr.:: lrmde· g[!~ue as it l'efi.ecls the way of "laying ~he mordent of a few ha:t'psichmdplayel"s of dMl seventeeath century, which, Giu. liani ("Ieadv refers ~O, wllem.he tells us in the orig:fn,al text that (it the mordent isn't any~hing else but a shert niH; whidl is play,eel in the s~me way».

revisor's noee

PARTE QUARTA

QUA.T.IUEM,E PARTIE

fOUR.TH PART

tI 1

i j ;JJ~ $~~~~ fr=lf;]lY{j t:~ af1#id

a '~" :2'

m i ,m

,_ -

------- -"_ --

45

I

I! t

P i f

,-

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i --

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t IU
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.. I ; .. I I .. , I.
, I .. , I
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ff VIII

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. _ 41 i 1.'_" ~ _ ,..; • ~. • - I J. 1\

• :."''' I _',

I -

¥.. 11.1(15 B.

Andantino, mosso A

,",,p I'f ":,,t! V

[

1\ ..

3

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._.

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(I

48

;-1-- -_

r

-j!

""esc.

po-co

a

poco

dim ..

r '

K 1105 11.

6

49:

Allegretto eon moto .43

!J '-; .. ·.··7· ... · r ·C. '. 7~1r

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r

·1

1 0"-:

1 4

~~ 4 .i;!' iA 8 4 ~ ...l J"""J .

r

1'-. ·r :r ~~. . ===t.;:== .......

-_ -~.

..

r

:2 0 3

r

r

r

8 1 :J J..-1 0

___ L _

r

-,

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V
1 t II
f f 1 50

7

maestcso

. Sf -\ 11

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f :i"ff'?'

'~ .. 4i t I e~ ...•

¥il:tr-..... ... 1'".:O •• ~ ..... ,'r·. F II';.

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ur

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t

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n

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51

Allegro spir.itoso

-rfrr r -f~r "rtf rtfr tftf rtft ~

2 :2 ... 2 :e

. 2-2 .

, w.iil!t.si#i j~~i!m~ i ip ~j ~i ii 1

~. l '~u:r~ l ,.,~ It, t_lrrt .

r l r

.

1 .... ... II S

2( ~

·If

52.

Allegro spirito so

I~~ ~~~~~ __ ~ __ ~ __

f~ =LCt.~.· •• i tffi>~ [.~

_'. - .. . __ S;

it. ......

~ ~ .. r

,

p,t

f:·f··· p

-,. I

1p

I

--------~~------~

i _2

,

4, 3_

- -

I

7

,

,.

,

,.

,(

I I·

53

Allegro ,s~pj.r.itoso

:S ·.2·. 1 .

4_ 1..........:. 0_ 2. -4 13, :3 .3 4 t 0 2: 1 _l4._I. 1.... rq=7' .......

..... :_. ~ 11~ ~. '~ . .. L- -- _~.o 1 ~ ~

lofq ..... #:I~(t@lg .•. j.' i .• n~rJJJ·J'rlJJO I, ,4,. l'

11ff . r " or: :e: r '

, _

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p

, r

--
r t r r r r , r f .54

Sostenuto o

1

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, .. ·r··· ti1f

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t

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2, 1 .!
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p.

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II

t .. _2 __

,..

r f

E. no:; ,B.

55

Andantino gra~ioso 4, s .............. 1

., , ,

dolt:e-

r

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r

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U

off

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.......... -~. .

IX

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.-. - - --.---

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