Sonata Antonio Jose Guitarra Guitar - Download as PDF File .pdf), Text File .txt) or read online. Turína, Joaquín - Sevillana (Manuscript) Sonata Antonio Jose Guitarra Guitar. Manuel M. Ponce - Sonatina Meridional Manuscript. Embed Antonio Jose Sonata Pdf Files. Sonata para guitarra. Contiene Manoscritto autografo dell.

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Manuel Maria Ponce – Sonata III () 2. Joaquin Turina – Sonata () 3. Antonio José – Sonata () 4. Mario Castelnuovo-Tedesco – Sonata ( Omaggio. Classical guitar sheet music in PDF format with notation and TAB plus Video Gr , Romantic, Free Notation or TAB; Beethoven: Moonlight Sonata, Arr. Tarrega, .. José Ferrer (–); Cantilène Espagnole No.1, Op. 41 – Video, Antonio Lauro (–); Carora by Lauro – Video, Sheet Music (Ricardo Gallén). Italian guitarist Emanuele Buono plays all four movements of the monumental Antonio Jose () Sonata via the Naxos Youtube.

Other guests included Alfred Einstein, and Sigmund Freud. The most active advocate of the movement was Adolfo de Salazar.

He was a composer, critic, and historian and strongly supported the work of an octet of composers that led the movement. These eight were known as the "Group of Madrid". There were other groups of composers in various regions that aligned themselves with the movement.

There was the Catalan group of eight. They were also known as the C. After the death of Antonio Jose, the Spanish "Generation of " quietly ceased to associate freely, and all in the "Group of Madrid" went into exile with the exception of Remacha, who stayed in Spain and stopped composing for 20 years.

The Purpose and Need for the Analysis A. Comparable Works The Sonata para Guitarra is one of the most technically difficult and lengthy sonatas for solo guitar in the first half of the 20th century.

The Sonata by Joaquin Turina, is not of the size or scope of Jose's example. The cyclical use of thematic material in the last of the three movements is less effective because of its brevity and literal repetition.

The work itself is brief and full of idiomatic Spanish rhythmic and melodic motives. Gtlardino and Saenz Gallego, p. When the exact date of composition of a work is not known, the dash will be used to place of the last number in concordance with similar usage in existing publications about these works. These modem sonatas still do not exhibit the extensive cyclical approach to the thematic material, the thematic transformation, or the extensions of formal and harmonic boundaries that are featured Jose's Sonata para Guitarra Similarly, the Sonata Classica "Hommage a Fernando Sor" and Sonata Romantica "Hommage a Franz Schubert, qui aimait ia guitare " by Ponce evoke the sonata forms of the past, and do not exhibit the expanded formal elements of Jose's example.

Many of the important composers for guitar use idiomatic cliches that are not common in the works of great composers due to the technical challenges of arrangement for the guitar, which has many more limitations than the piano. It is a challenge for a composer to write for the guitar without compromising their compositional structure due to the limitations in voicing, range, and the technique of the performer.

This is why there are so few guitar works that can compare to Jose's Sonata para Guitarra. In the manuscript, many of the indicated note combinations caimot be realized on the guitar, thus the performer must make educated decisions about what best unifies the musical intent of the composer and the guitarist's technique. The existing editions provide very little to help the performer in this regard. There is an urgent need for a systematic analysis of the piece that might be used to assist the performer in interpreting and performing this very difficult sonata.

To my knowledge, there has been no detailed theoretical analysis of either version of the manuscript, nor of either performance edition. An understanding of the formal elements of a sonata-allegro form is of paramount importance to the concert guitarist in forming an interpretive technical solution that will allow the educated audience to clearly hear the thematic, and harmonic formal elements presented in a way consistent with the composers intentions. The thematic and harmonic formal elements of each movement will be illustrated graphically and in prose.

Technical solutions of the problematic areas of the manuscript will be arranged based upon sound guitar technique and note choices that may more effectively express the formal elements of the sonata-allegro I , the minuet 11 , the pavane III , and the sonata-rondo IV.

Left-hand and right-hand fingerings, including string and position choices will be made to facilitate the expression of the formal elements. The relative hierarchical importance of the formal sections and harmonic progressions will be discussed and suggestions for proper interpretive execution in moments of tension and repose will be put forth.

The first movement. Allegro moderato is in sonata-allegro form, with an expanded recapitulation. The thematic material is not only developed thoroughly here, but also foreshadows themes and motives that will figure in each of the subsequent movements. This sonata form exhibits extensive thematic development and transformation within the confines of the guitar's limitations. The primary thematic motives of the remaining movements of the Sonata, are revealed here.

The second movement, Minueto, is in rounded-binary form that is developed fi-om a motive of the second-theme area of the Allegro moderato. It has a character very much like a sarabande, because of its emphasized second beat.

The third movement, Pavana Triste, is ternary in form and its themes are revealed in the preceding two movements.

The fourth movement. Final, is a rondo with cyclical recurrences of material from the Allegro moderato. This movement alternates a scale-laden ritomello with rasgueado passages. The form of the whole work is based upon the development and transformation of thematic material primarily from the first movement and in one case from the second movement.

Edward Murphy, Professor of Music Theory at the University of Arizona that concisely illustrate the formal aspects of music in his publications and class notes. The formal outline is described by the use of capital letters for major sections and lowercase letters for smaller phrases.

Allegro Moderato-Sonata-allegro form I.

Minueto - rounded-binary form. Allegro Moderate The first theme is in two parts. Part one or a of the IT, mm. These sections are composed in the following manner: Part a is in three sections. The suspensions in Jose's music are generally unprepared.

The harmonization of the theme in Spaces that are larger than normal may occur at the bottom of certain pages to accommodate the insertion of musical examples. The ascending motive rises to the major ninth f l. The motive in m. This arrival point is marked by an accent. The harmonies in mm. The second phrase begins on the tonic note e that occurs on the last eighth note of m.

The harmonization is D7, bvii7 in m. The tonic note e also occurs after the Bm7, v7 in m. This phrase mm. The third phrase of this section, cc mm. The harmony in m. Measure eight is a varied repetition up an octave from m.

Measures nine and ten are a transposition of mm. The second part of the first theme, referred to here as b of the FT, mm is divided into two sections. FT b aa mm. The harmonies in m. The melodic material from these two measures is sequenced down a M3 in mm The harmonization remains in e minor. The statement of the dominant chord is delayed until the beginning of the ST in m.

A transition mm. Tmnstion fmm FT a GKhalf-dim7 vii halfdim? The harmonic rhythm is the quarter note. The harmonization of mm is m. Measures should be treated as a buildup of energy toward the climactic arrival of the ST in m.

The ST area is divided in two major parts. The first major part of the ST mm. The eighth-note to dotted-quarter note rhythm in mm. DM, bvh is the prevailing harmony in m. A sequence of the theme occurs in mm The first beat of m.

Emanuele Buono Plays Sonata by Antonio Jose (Complete)

I Aug. I ' Aug. The theme arrives in g: by CPC from the key of e minor. The statement of that rhythm on a gm chord in m. In mm the first appearance of a very important A half-dim7: ii half-dim7 in g: vii half-dim? This chord progression resolves in BbM, up a tritone from the opening theme. The modulation type is a diatonic pivot chord to the tritone axis, Bb, in m.

The BbM triad is arpeggiated through m. The Bb harmony prevails through m. This harmony is the dominant in the new key of A major. This modulation type is a chromatic passing chord modulation or CPC.

The Development nim is composed of two large sections that are each divided. Diie oft A. V half-dim? In mm. The rests in mm. The harmony on beat two of m.

The G half-dim? The modulation from A: to C: occurs at this jimcture. The C M chord is chromatic in A; and diatonic in C major. The fifth of the C M chord begins the second statement of the syncopated motive on beat two of m.

The g 2 is tied over the first beat of m. The resolution to C M is delayed until m. The flatsubmediant, AMajT in m. Once again Jose makes use of the tritone relationship to the key center of C. This harmony is not fimctional in C : and is a passing harmony to the next measure.

On the second beat of m. This minor dominant resolves to C M in m. The fourth statement of the syncopated motive begins on beat two of m. The g 3 is the augmented 11''' of the D7 l 1, N7 l 1. Measure 73 begins the cadence that ends the section, m.

The last bar of this section, m. The second half of DEV A , m transposes the motive fi-om m. The Ebm chord is not functional in C major.

This is a modulation to eb: by CPC. The E half-dim7 is chromatic in Gb: and functions as a ii half-dim7 in d minor. Therefore this is a chromatic passing chord modulation or CPC. Gb: vii half dim? A proper re-transition would be on the dominant pedal in e; b. The harmonization is that of a extended dominant, using the triads, Ddim.

The last two harmonies of this section form a tritone cadence. The false retransition is followed by the false recapitulation in m.

The theme enters in G in m. There is a shift to the major mode, D: in m. The last chord is chromatic in d; and diatonic in e minor. Therefore this is a CPC. The transition, mm. The expanded restatement in mm is, F half-dim7. II half-dim? Ab: vii half-dim? The first eight measures of DEV A , mm. The following two measures are a repeat of mm In mm the same rhythmic pattern is applied to an enharmonically spelled C dominant-ninth chord. The spelling of 67 61 the harmony, cl, e2, g2, a l, d3, g3 is like a German-sixth with an added ninth.

The coda begins in m.


The first two notes of the second measure of the FT are present in the upper voice in m. These notes, el and f l, employ the eighth to dotted quarter note rhythm of mm. The accompaniment to the el and f l 68 62 in m. The last two notes are changed to dl and c l. This melodic figure is repeated up an octave in mm The accompaniment in mm s in eighth-note harmonic rhythm is cl, b, e, and b. The upper voice in m. This time, the last note is changed to f 2.

The f 2 resolves upward to the seventh of the A7 add9 sub-dominant chord in mm. The augmentation of the first measure of the FT occurs in eighth notes in mm The last two notes are changed to b2 and a2. The first measure of the FT is augmented in mm The first note, e, is omitted. The first note is f instead. The listener has to wait until m. The last two notes of the last statement of the theme are dl and c l just as in m.

The c l is tied over the bar line through the first beat of m. This is a reference to the rhythm in m.

The c l resolves to cl in the second half of m. The cl is tied over the bar line through m. The minor dominant in m. The E major harmony is tied over the bar line through m. This could be viewed as a final reference to the rhythm from m The coda's primary compositional feature is the cadential use of the FT. The theme placed above the dominant pedal, as well as the flat-submediant and the tonic; propel the listener toward the finish. Minueto The Minueto is in rounded-binary form.

The key center is C, bvi in relation to the key center of the whole work beginning in minor mode and ending in major mode. The Cm sus2 to Cm, i in the first measure is very similar to the use of unprepared suspension in the transitions of the first movement, mm. The second measure confirms the rhythm of the first, as well as the repeated use of unprepared suspension. The second phrase begins in m.

Documents Similar To Antonio Jose - Sonata (Manuscript).pdf

Measures S-8 are identical to mm The difference in this phrase 71 65 is m. The dominant chord is heard here, G7 add9. The third phrase is equal in length to the first two. The motive from m. The same material is repeated up an octave in the next measure. The primary rhythmic motive appears again in m.

The phrase is prolonged by going to the D half-dim? The following measure functions as an incomplete dominant to the tonic note in m. The tonic pedal sounds on beat one and is held underneath the DM, 01 on beat two, the Db, N on beat three, and the Abm, bvi on beat one of m. The B section, mm. The modulation from C; to eb: is by CPC. The Ab? The chord here moves the key center to E.

This is a CPC modulation. The harmony remains the same in m. B eb; i CPC neighfaor Ab7. The key center of C : is established by the G 7b9 addl 1 in m. Measure 26 establishes the key center of C: with the G7b9 addl 1. This ends the phrase in A major. The next phrase, mm. Li ni. Measure 31 modulates to E: by way of CPC. The last measure of the phrase, m. The phrase ends in m. The return of the primary rhythmic motive marks the start of the next phrase, mm.

Emanuele Buono Plays Sonata by Antonio Jose (Complete)

The harmony stays the same on the first two beats of m. On the third beat of m. The next four bar phrase, mm.

The resultant harmonies are AM add6 in m. The harmonization in m. The harmonic rhythm increases to the eighth note on beats two and three. Measure 42 repeats the 75 69 AM chord three times and is followed by the entrance of the primary rhythmic motive in m.

The harmonization is F7. On the third beat of the measiu-e the harmony is BM add9. This ends the first half of the eight bar phrase, mm. The harmony prevails through the first beat of m. The resolution occurs in m on the AM add 13 chord.

The climactic statement of the primary rhythmic motive occurs in the phrase that starts in m. The descending eighth note motive in the upper voice in mm confirms the harmony on beat one and adds the major ninth. The C7 add9, biii9 in m. The Em add9, v9 in m is expressed as a hemiola.

The half notes foretell the introductory measure of the Pavana Triste. This pair of measures is the reason the phrase is of odd length, ten measures. The last half of the phrase begins in m. In m the motive from mm is placed down an octave. Measures are a repetition of mm Measures are a repetition of m. The last measure of the section m. J IflJ-. Pavana Triste The first measure of this ternary form is an introduction that occurred rhythmically in mm of the Minueto.

I aj despacto i 1 m C7. The upper notes of this figure create a B diminished harmony. The a theme that follows, is four measures long, mm. The last sixteenth of the beat changes to al. The tie is prominent in the first movement in mm. The same rhythmic figure occurs on beat two of measure two. The rhythm on the third beat of m. The phrase continues with two more statements of the one measure rhythmic figure starting on e2 in m.

The first phrase concludes in m. The upper and lower voices in m. At this point the harmony sounds like CmM7, bvt for one beat. Measures 4-S are in E melodic minor. The second phrase, mm. The notes of the last beat ascend dl, ebi, fl, gl. The melodic motion is similar in mm.

We discuss also about the maximum and minimum, the extremes of semantic tension: for two of the sonatas Ponce and Turina , we have added diagrams of the semantic tension and made a succinct commentary, in this way completing the initial information regarding the quality of the affects with quantitative data showing the intensity of those psychological states.

The accurate description of these elements will lead to a proper understanding of the progress or evolution of that specific movement for example, a correct appraisal of the musical parameters of the GTP and GTS will lead, without doubt, to a performance in the spirit of the respective movement. It is understood that the analysis continued at the macrostructural level, looking how the principal ideas have contributed to the development section or how the emergence of new motifs in the episodes created a contrast with the refrain or have become complementary to it.

In the bridge section we follow two motives derived from the GTP acquiring a special importance in the progress of the exposition: the first one, built on two chords minor chord with major seventh, respectively augmented chord with major seventh exposed in the form of arpeggios, suggesting affects of tumult and ardour, takes us to the semantic maximum of the exposition; the second one, in the bass line as a melody in a step motion with an affect of inward pathetism, connects the two appearances of the arpeggio motive.

In GTS one can feel a clear contrast with the previous section, the sober and calm mood emerging from the minimal melodic movement accompanied in the bass line by repeated sounds, like delicate timpani strokes. Ponce builds intelligently the subsequent musical plot by emphasising in the first section of the development the dramatic and pathetic character of the main theme: the gradual intensification of the musical discourse, presenting now fragments of theme accompanied by arpegios in triplets, leads us to the maximum semantic tension of the whole movement.

The following section appears again in a clear contrast with the preceding one: from here starts the area of lyricism, nostalgia, even reverie, which progresses in an espressivo and intimate mood low dynamics, short fermatas, poco rubato, dolce. In the recapitulation we can observe the same structure with the exposition, with two exceptions: starting with bar there is a transposition at a minor third lower, and the secondary theme is also transposed with a perfect fourth higher in the initial tonality, d minor: this way, the last section concludes by approving an almost classical sonata allegro.

We have tried by using our imagination to justify the using of a song Chanson full of lyricism and nostalgia as the second movement of the sonata through the universal feeling of longing, which could have been the state of a Mexican man living in Paris, far away from his native land. Within the simplicity and sincerity of this song, Ponce appeals to the polyphonic syntax, sometimes imitative, but generally treated in a free way; the first section, in a tri-strophic form followed by a coda, is divided in three segments: a first phrase presenting a simple and lyrical melodic line, a meditation followed by an intensification of the emotion, the climax being found in the first bar of the last segment.

Among the important technical and musical coordinates to be taken into account, there are: a molto legato articulation; poco rubato, observing not to exaggerate the feelings involved in it; to highlight each voice in the given polyphonic context; a moderate tempo andante comes from the italian word andare — to walk , not a slow one.

The median part Vivo can be described as energetic, even exuberant and it has a ascending-descending dynamic profile presented in successive waves repeating one and the same melodic and rhythmic figure. The refrain of the last movement of the sonata, whose structure makes us to suggest a classic rondo form followed by a Spanish fantasy, runs its course in the tonality of D major, at an allegro non troppo tempo, with the character subtitle of giocoso.

This first segment is defined by a tonal-modal game whose varied nuances can be accurately performed by using extremely short fermatas, different articulation and timbre.

Sheet Music & Tab for Classical Guitar

As a matter of fact, this is the most important reason in choosing and analysing the the four sonatas in this thesis, not to mention the constant performances in festival, recitals and recordings, a cultural fact of great relevance.In this letter the Spanish scholar was tracing, among other things, the whereabouts of his manuscript. Measures should be treated as a buildup of energy toward the climactic arrival of the ST in m. The motive in m. Generally there are different causes that limit the interest in the musician from Burgos.

The last sixteenth of the beat changes to al. Minor triad plus a minor 7th and major 9th. The Ebm chord is not functional in C major.

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