4 Danzas Cubanas

Ignacio Cervantes
Arreglo para 2 guitarras: Harry Nigohosyan

Harry Nigohosyan: The Tree of Judas, 2016

 ILUSIONES PERDIDAS

   
 
     
tr. Harry Nigohosyan Ignazio Cervantes

   
     3  2  3 3  02 2

  = 40 1 4
2 4 4

    
0

 
Classical Guitar

  
   

   
  
Classical Guitar


  
 1  4  4 3  3  
                        1 
  
3 2


1 1 3 4 1 2
1


               
Guit. 2 3 2

        

  
  
Guit.

   
       
  3 0              2          
4

 
1 2 3


2 0 1

 
4 1
7

       3 2 4         
Guit.

   
       
Cresc.

    
Guit.


  
             
                

11

         
Guit.

 
       
   

Guit.
 
                       
   1  
           2
   
21

1
15


2

Guit.

    

                 
   
  
Guit.


           
  
     
 
   
     

20


Guit.

       
   
                  
 3

  
1

    
Cresc.

 2 

Guit.


               3    2       
         
24


Guit.

       
        3     
 1 4

         
4

  1

Guit.

  
             
4 1

 
    
28

Guit.

     
        
0




       
Guit.

   
  
     34   2 
31
2
D.C.
1 3
1
Guit.

 
4

 
        
Guit.

2
 ILUSIONES PERDIDAS


Classical Guitar 1



    

         
     
tr. Harry Nigohosyan Ignazio Cervantes


       
   
  = 40 1 4
1 4
2 1
2 4 4 2
3 3 0

                              
2 2 3 2
3 0

   
2 0 1
4 2 4
4 3
1 2 3


1 1 3 4



      
1 3 0

       

              
        
4
1 2 3

 
1
8

                  
             
      

  
12

       
  
     
                          
          
 

 
21


17
2
1

                      
2
1

             


     

22

 
3

        
                    
 
4 1

       
 
   
      
    
27
2 1 3
4
3
4

 
0

  
32
2
D.C.
1

2
 ILUSIONES PERDIDAS


Classical Guitar 2

   
                
tr. Harry Nigohosyan Ignazio Cervantes

     
     
          
  
  = 40

   

                    
      
   
 
Cresc.

  
6

 
3 2 4



         
                    
        
11



        
                    
 
16

    

        
                 
     
1 3 Cresc.

         
21

     

2

        
                 

4

 
1

  
4

   
26

  

3

 
1

 



               
30 D.C.


 LOS DELIRIOS DE ROSITA

    

         
  
tr. Harry Nigohosyan Ignazio Cervantes

       
  
 = 80


                
Classical Guitar

 
          


   
Classical Guitar

 
         1. 

      
                
 
5 2.

Guit.

 
                    
 

    
      
1. 2. ritmico

    
   

Guit.

 
  
      
                      
 
       
        
10

  
Guit.

                           
       
          
Guit.


  
            
       
   
   
        
   
15

  
Guit.

  
                         


      
       

Guit.


            
 
           
        

19

      
Guit.

 
                 
       
 
   
         

Guit.


 
         D.C.
     


     
23

 
Guit.

  
            
     
   
       
Guit.

2
 LOS DELIRIOS DE ROSITA
Classical Guitar 1


                              

 
tr. Harry Nigohosyan Ignazio Cervantes

  
 = 80

  1. 


       
          

    

5


     


 2.                          
     
        
 
9

 
   
     



        
     
            
 
          

14

    

               
   
        

19

     
  
 
      D.C.
         

  
    
23

 
 LOS DELIRIOS DE ROSITA
Classical Guitar 2

   
                       
   
       
tr. Harry Nigohosyan

   
Ignazio Cervantes

   
 = 80

    


  
                          

     
1. 2. ritmico

   
      
7

 

  
                     
       

       
12

 

 
  
               
      
   
16

     


      


      
         


   
        
20


   
    
  
   
 
   
D.C.


24

 
 LOS TRES GOLPES

 
    
tr. Harry Nigohosyan Ignacio Cervantes

 
                     

Classical Guitar     

 
0

Classical Guitar          
         
 
  



   3    
      
 132   1   2
  
1    
1

Guit.  
4


5


1

                       

Guit.

     
            
    
             
9


Guit.

         
     
 

       
 
Guit.

   
              
    
  
         
    
  
14

 
Guit.

     
           


  
Guit.
   
                   
      
Guit. 
          
 
18

        
Guit.     
 
 
 

 


                 
       
 

            

22

 
  
Guit.

       
              



  
Guit.


               
            
   
  
26

  
   
Guit.

                 
 


        
 
Guit.

     
            
 
30 D.C.
Guit.

    


    


     
 
Guit.

2
 LOS TRES GOLPES
Classical Guitar 1

     
    
tr. Harry Nigohosyan Ignacio Cervantes

 
                     
   
4

   
1
3


1
0

                  
2 1

    
          
1

   

6 3
2

   
   
1

            
            
        

12

   
        
                  
      
   
16


                  
      
 
 

    

21

         
   


                              
 
  
25

      


 
   
        
30 D.C.
 LOS TRES GOLPES
Classical Guitar 2

 
tr. Harry Nigohosyan Ignacio Cervantes

             
  
        
  
  



    
                      
7

  
 
      
             
           
12

  



 

           
   
          
19

  

    
          
     
                 
           
25

    


  
  
      
31 D.C.

 

 SOLEDAD

    
tr.Harry Nigohosyan Ignazio Cervantes

                
fl. V

       
         
   

fl.VII
 = 80

Classical Guitar

   
4

      
2

   
          
           



Classical Guitar

   
    
 
                              
    
6


 
 
Guit.

    
              
  
        
Guit.


            
                
     
12

    
Guit.


           
                 
           
  
Guit.

  
    
                 
      
      
18

                  
Guit.

       
           
    
Guit.

    
       
     
24 D.C.

Guit.

  
    
     


Guit.
   
Classical Guitar 1 SOLEDAD
 
      
tr.Harry Nigohosyan Ignazio Cervantes

         
                   
fl. V

    
    
fl.VII
 = 80

4
2

 


   
 
                                     
     
7

       
    
          
                      
        
14

 
         
        
   
 

 
23 D.C.
Classical Guitar 2 SOLEDAD

      
tr.Harry Nigohosyan Ignazio Cervantes

        
                  
    
fl.VII
 = 80

   
fl. V

  

       
       
        
        
 
       
7

  

        
        
               
      
   
14



        
 
  
  
              
D.C.




       
       
20
 Part SOLEDAD

 
 
tr.Harry Nigohosyan Ignazio Cervantes

      
     
fl. V


                      
    
2
fl.VII

  

 = 80 4




    
                                      
     
7

         
   
                              
       
14

 
         
        
   
 

 
23 D.C.