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Leo Brouwer - Estudios Sencillos Vi - таба, видео

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Leo Brouwer - Estudios Sencillos Vi - таба, видео

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Estudio VI, from Estudios Sencillos
by Leo Brouwer

Tabbed by - R. Joe Weiblen - ro2@umbc.edu

Every note is a sixteenth note, except for the downbeat of every
measure, which is a half note. Thus, sustain the first note of
every measure through the first eight notes (in the coda, that's
the whole measure).

There are two finger patterns, one for the first secion and one for the
coda, and both are easy to pick up. Plus, every measure repeats once (with
two exceptions), so there's half as much to learn.

Right hand (left hand for left-handers)
p- thumb, i- index, m- middle, a- ring, p- pinky

Left hand (included when relevant)
1- index, 2- middle, 3- ring, 4- pinky

       p a m i a m i p a m i p   p a m i a m i p a m i p
e|---|---0-----0---------------|---0-----0---------------|
B|---|-----4-----4-----4-------|-----4-----4-----4-------|
G|-3-|-------6-----6-----6-----|-------6-----6-----6-----|
D|-4-|---------------7-----7---|---------------7-----7---|
A|---|-0---------------------0-|-0---------------------0-|
E|---|-------------------------|-------------------------|
           1 3       4

    move ever increasingly toward ponticello
    and gradually crescendo with each measure

|---0-----0---------------|---0-----0---------------|
|-----4-----4-----4-------|-----4-----4-----4-------|
|-------6-----6-----6-----|-------6-----6-----6-----|
|---------------5-----5---|---------------5-----5---|
|-0---------------------0-|-0---------------------0-|
|-------------------------|-------------------------|
      1 3       2

|---0-----0---------------|---0-----0---------------|
|-----4-----4-----4-------|-----4-----4-----4-------|
|-------5-----5-----5-----|-------5-----5-----5-----|
|---------------4-----4---|---------------4-----4---|
|-0---------------------0-|-0---------------------0-|
|-------------------------|-------------------------|
      3 4       2

|---0-----0---------------|---0-----0---------------|
|-----3-----3-----3-------|-----3-----3-----3-------|
|-------4-----4-----4-----|-------4-----4-----4-----|
|---------------3-----3---|---------------3-----3---|
|-0---------------------0-|-0---------------------0-|
|-------------------------|-------------------------|
      3 4       2

these measure ought to be all the way ff and ponticello.
|---0-----0---------------|---0-----0---------------|
|-----2-----2-----2-------|-----2-----2-----2-------|
|-------4-----4-----4-----|-------4-----4-----4-----|
|---------------2-----2---|---------------2-----2---|
|-0---------------------0-|-0---------------------0-|
|-------------------------|-------------------------|
      2 4       1

contrastingly, these measure are more tasto and piano
|---0-----0---------------|---0-----0---------------|
|-----1-----1-----1-------|-----1-----1-----1-------|
|-------4-----4-----4-----|-------4-----4-----4-----|
|---------------2-----2---|---------------2-----2---|
|-0---------------------0-|-0---------------------0-|
|-------------------------|-------------------------|
      1 4       2

rubato, moving away from tasto
|---0-----0---------------|---0-----0---------------|
|-----0-----0-----0-------|-----0-----0-----0-------|
|-------5-----5-----5-----|-------5-----5-----5-----|
|---------------2-----2---|---------------2-----2---|
|-------------------------|-------------------------|
|-3---------------------3-|-3---------------------3-|
  2     4       1

|---0-----0---------------|---0-----0---------------|
|-----0-----0-----0-------|-----0-----0-----0-------|
|-------2-----2-----2-----|-------2-----2-----2-----|
|---------------2-----2---|---------------2-----2---|
|-------------------------|-------------------------|
|-2---------------------2-|-2---------------------2-|
  2     4       3

|---0-----0---------------|---0-----0---------------|
|-----0-----0-----0-------|-----0-----0-----0-------|
|-------2-----2-----2-----|-------2-----2-----2-----|
|---------------0-----0---|---------------0-----0---|
|-------------------------|-------------------------|
|-1---------------------1-|-1---------------------1-|
  1     4

|---0-----0---------------|---0-----0---------------|
|-----0-----0-----0-------|-----0-----0-----0-------|
|-------2-----2-----2-----|-------2-----2-----2-----|
|---------------2-----2---|---------------2-----2---|
|-------------------------|-------------------------|
|-0---------------------0-|-0---------------------0-|
        4       3

|---0-----0---------------|---0-----0---------------|
|-----0-----0-----0-------|-----0-----0-----0-------|
|-------1-----1-----1-----|-------1-----1-----1-----|
|---------------2-----2---|---------------2-----2---|
|-------------------------|-------------------------|
|-0---------------------0-|-0---------------------0-|
        1       2

CODA
      p a m i p a m i
|---|---0-------------|---0-------------|---0-------------|
|---|-----0-----0-----|-----0-----0-----|-----0-----0-----|
|-2-|-------10----10--|-------10----10--|-------11----11--|
|-4-|---------12----12|---------12----12|---------11----11|
|---|-0---------------|-0---------------|-0---------------|
|---|-----------------|-----------------|-----------------|
            1 3                                   4 3

same finger style throughout the coda
  p a m i p a m i
|---0-------------|---0-------------|---0-------------|
|-----0-----0-----|-----0-----0-----|-----0-----0-----|
|-------11----11--|-------7-----7---|-------7-----7---|
|---------11----11|---------4-----4-|---------4-----4-|
|-0---------------|-0---------------|-0---------------|
|-----------------|-----------------|-----------------|
                          4 1


|---0-------------|---0-------------|---0-------------|
|-----0-----0-----|-----0-----0-----|-----3-----3-----|
|-------6-----6---|-------6-----6---|-------4-----4---|
|---------6-----6-|---------6-----6-|---------3-----3-|
|-0---------------|-0---------------|-0---------------|
|-----------------|-----------------|-----------------|
        4 3                               2 4 1

                    fermata
|---0-------------|-----------------|
|-----2-----2-----|-----------------|
|-------4-----4---|-----------------|
|---------2-----2-|-----------------|
|-0---------------|-0---------------|
|-----------------|-----------------|
      2 4 1

There's a time at the end of the piece, meaning that the
composer thinks all the above should finish in about
1 minute and 25 seconds. Thats it for tempo.






     
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