Six Keyboard Sonatas of Manuel Blasco de Nebra: Transcriptions for Guitar and Analysis of Spanish Folk Music Influences, and Use of Keyboard Techniques that Imitate the Guitar, as Inspired by Domenico Scarlatti
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Authors Lerman, Steven Jay
Publisher The University of Arizona.
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SIX KEYBOARD SONATAS OF MANUEL BLASCO DE NEBRA:
TRANSCRIPTIONS FOR GUITAR AND ANALYSIS OF SPANISH FOLK MUSIC
INFLUENCES, AND USE OF KEYBOARD TECHNIQUES THAT IMITATE THE GUITAR,
AS INSPIRED BY DOMENICO SCARLATTI
by
Steven J. Lerman
Copyright © Steven J. Lerman 2019
A Doctoral Document Submitted to the Faculty of the
FRED FOX SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
In the Graduate College
THE UNIVERSITY OF ARIZONA
2019
3
ACKNOWLEDGEMENTS
To my committee: Tom Patterson, Philip Alejo, and Moisés Paiewonsky for your support and contributions to this project. Your insight, expertise, and encouragement were invaluable to me.
To Tom Patterson: There is no way to properly thank you for all of the opportunities you provided me. The guitar Mecca that you have established in Tucson shaped me as a guitarist and as a man. Your teaching has been an inspiration, and just as importantly, I have always felt that this program was like a second family.
To my university guitar teachers: Bruce Holzman, Renato Serrano, Gabriel Navia, Lars Rosvoll, Thomas Viloteau, and Fred Benedetti. I felt great care and guidance from each of you. I have so much respect for you all and deeply appreciate your unique insights.
To Steve Lorentz: Your classes gave me my first opportunities for teaching and leadership. Thank you for identifying my potential and being a great advocate. The atmosphere your classes provided was a refuge for me at an uncertain time.
To Rick Hill: I am here today because you ignited my musical spark. I had never heard of classical guitar before I met you. Your lessons were exactly what I needed and they came at just the right time. I am forever grateful that you led me to this life.
To my dear brothers: You are the most amazing role models a little brother could ask for. You demonstrate how to work hard for you passions and continually to exemplify what it means to be great men. Thank you for always supporting me.
To mom, dad, and Nancy: Thank you for always advocating for me. Your guidance and encouragement has helped sustain me in this process. I am grateful for all of your sacrifices and for never wavering in your optimistic support. 4
DEDICATION For Chelsie and Avrie. You have both sacrificed so much for me to get to this point. You have been my strength and my motivation. Chelsie: You fought for me harder than I did for myself. I am forever thankful for your complete support. This accomplishment belongs to you as well. Avrie: Your life puts the world in context. I’m sorry for the time this endeavor has taken away and I hope to repay you for the rest of my life. I love you both. 5
CONTENT
Abstract…………………………………………………………………………………………………………...7
I. Introduction………………………………………………………………………………………………….8
Background and Significance………………………………………………………………....8
Transcription and Arrangement…………………………………………………………...15
The Eighteenth Century: The Baroque Guitar, Spain, and Scarlatti………….17
II. Manuel Blasco de Nebra………………………………………………………………………………19
Biography…………………………………………………………………………………………....19
Extant Compositions and Important Discoveries…………………………………...20
Sonatas 107-112………………………………………...... 22
III. Influence of the Guitar……………………………………………………………………………….23
Scarlatti’s Influence……………………………………………………………………..……....23
Guitaristic Keyboard Elements……………………………………………………………..24
Keyboard Rasgueado……………………………………………………………………………24
Alternating Punteado and Rasgueado……………………………………………………26
Internal Pedal Points……………………………………………………………………………27
Guitaristic Texture……………………………………………………………………………….30
IV. Manuel Blasco de Nebra’s Sonata Form………………………………………...………….....33
Scarlatti: Similarities and Departures……………………………………………………33
Sonata 107…………………………………………………………………………………………..35
Sonata 108…………………………………………………………………………………………..37
Sonata 109…………………………………………………………………………………………..37
Sonata 110…………………………………………………………………………………………..38 6
Sonata 111…………………………………………………………………………………………..39
Sonata 112…………………………………………………………………………………………..40
V. Spanish Folk Music and its Influence on Manuel Blasco de Nebra………………….41
Bolero…………………………………………………………………………………………………42
Cante Jondo…………………………………………………………………………………………51
Fandango…………………………………………………………………………………………….58
Sevillana……………………………………………………………………………………………...61
VI. Transcription Issues and Solutions…………………………………………………………….63
Choosing a Key…………………………………………………………………………………….63
Pedal Points with Shifts………………………………………………………………………..66
Acciaccatura to Keyboard Rasgueado……………………………………………………68
Ornaments…………………………………………………………………………………………..69
VII. Conclusion…………………………………………………………………………………………...... 71
Appendix:………………………………………………………………………………………………………73
New Transcriptions of Manuel Blasco de Nebra’s Sonatas 107-112………..74
Bibliography…………………………………………………………………………………………………100 7
ABSTRACT
The extant keyboard compositions by composer Manuel Blasco de
Nebra (1750-1784) were discovered nearly 200 years after his death. This document contains a compilation of de Nebra’s known biographical information and provides historical context to his music, specifically his sonatas 107-112 (discovered in 1987). Research is used to demonstrate how his compositions were significantly influenced by the Domenico Scarlatti- inspired tradition of incorporating guitaristic elements in keyboard sonatas.
Specific techniques and correlations are identified between de Nebra and
Scarlatti. This document provides sonata form analysis of each of the six sonatas and offers conclusions about his general realization of sonata form. To demonstrate the folk music influences in de Nebra’s compositions, contemporaneous Spanish folk music styles are examined in relation to the sonatas. Finally, new transcriptions of the six sonatas for classical guitar are provided. The issues that occurred during the transcription process are listed with detailed descriptions of the solutions. These pieces are valuable additions to the tradition of transcribing eighteenth-century keyboard music for the guitar. 8
I. INTRODUCTION
Background and Significance
The oud is earliest ancestor of the guitar. The rounded back of the oud means that it is technically not a member of the guitar family, but the development of the guitar can be traced from its the history. It first arrived in
Europe via the Moorish invasion of Spain from North Africa in 711 A.D., but later reached other European regions through contact with the Ottoman Empire.1 The oud existed in Persia for millennia before being introduced to Europe, and is recognized as the earliest ancestor of plucked string instruments. The oud changed through time, eventually evolving into the early lute. By the middle of the fourteenth-century, this evolution included the addition of frets and the doubling of three of the four strings (the first string was generally a single string, called the chanterelle). The doubling of strings was an adaptation that became the standard of the multiple plucked string instruments that following for nearly
400 years.
Two more strings were added to the lute by the year 1500, and the playing style evolved from the use of a plectrum, to plucking with the right hand fingers. The use of finger plucking coincided with the invention of lute tablature, which allowed for more compositional specificity and the preservation of repertoire; this contrasted the music of the oud, which existed almost entirely
1 Anthony LeRoy Glise, The Guitar: In History and Performance Practice from 1400 to the 21st Century (St. Joseph: Aevia Productions, Ltd., 2016), 38. 9
through aural tradition. The last stage in the development of the Renaissance lute was the addition of diapason basses.2 A typical Renaissance lute contained eight courses, two of which were diapason basses. Forthcoming discussion will demonstrate that the standard tuning of the lute (G – C – F – A – D – G) also had a long-term influence on the tuning systems of other plucked string instruments.
The lute was most popular in England, France, Germany, and Italy.3
With a flat back, the vihuela is the earliest member of the guitar family.
The vihuela developed at the end of the fifteenth-century, around the same time that the Renaissance lute was being codified. The vihuela quickly achieved immense popularity in Spain. The last of the Moors were expelled from Spain in
14924, so it is possible that anti-Moorish sentiment led the Spanish to favor the vihuela over the more exotic lute. Although different in appearance, the vihuela had many similarities to the lute. Early vihuelas had five courses, but a sixth course was introduced before any of the surviving methods were written. The courses were tuned exactly the same as the Renaissance lute, however the doubled bass strings could be tuned in octaves or unisons. The vihuelists also used the Italian lute tablature notation, which allowed for polyphonic composition. The vihuela and the lute required the same right and left hand playing techniques, except for the added diapason basses of the lute. Despite the
2 Diapason basses are the strings tuned in a diatonically descending order that are added below (in pitch) the sixth string of the lute. The strings run above the fret board so they can only be played as open strings.
3 Glise, The Guitar, 41.
4 Ibid., 39. 10
existence of only seven surviving sources of vihuela music from a forty-year period, much of the Renaissance music played by modern guitarists comes from this instrument.
The four-course Renaissance guitar was adapted from the vihuela during the sixteenth-century in Spain. Except for being tuned an octave higher and with the third interval between the second and third strings (rather than the third and fourth), the four-course guitar used the tuning system of the vihuela.
Guitarists in Spain primarily used it for accompaniment, played in a strummed, rasgueado style. Naturally, because vihuela players could play both instruments, they also incorporated the plucking (punteado) techniques they used on the vihuela. While very little solo four-course guitar music exists or is transferrable to the modern guitar, some vihuela composers included pieces for the instrument as part of their vihuela methods. They also used the Italian style tablature to compose for the four-course guitar. Alonso Mudarra (1510-1580) composed notable examples of art music for the four-course guitar in his vihuela books, Tres libros de música en cifras, written in 1546. These contain the first known published sources of music for the four-course guitar. 11
Figure 1. An example of four-course guitar music from Tres libros de música en cifras. Alonso Mudarra, Pavana, 1546.
The first mention of the five-course guitar came from music theorist Juan
Bermudo in his Libro primo de le declaracion de instrumentos in 1555. The five- course guitar existed alongside the vihuela and the four-course guitar, but gradually replaced them both in the early seventeenth-century.5 By the end of the sixteenth-century vihuela music was quite complex. The strummed playing style of the five-course guitar and its relatively simple music were important factors that lead to the shift from vihuela to guitar.
5 Glise, The Guitar, 36. 12
In 1595, Italian musician Francisco Palumbi published the first known method written exclusively for the five-course guitar. This source contained alfabeto chord charts, a new type of notation that used letters to correspond to chords. Alfabeto scores used letters with rhythms written above, and included indications for strum direction. Another equally important source was Guitarra español, a method written in 1596 by Spanish guitarist Juan Carlos Amat. Amat’s method also contained alfabeto notation, although Spanish alfabeto chords were notated with numbers rather than letters. Perhaps more significantly, he also provided a tuning system that was identical to the modern guitar from fifth to first string (A – D – G – B – E).6 Strummed alfabeto pieces remained the standard for over thirty years following Palumbi’s first publication.
Figure 2. Alfabeto notation from the early seventeenth-century.
6 Glise, The Guitar, 36. 13
As guitarists began to combine strumming and plucking, a natural need arose for more complex notation. Italian guitarist Giovanni Paolo Foscarini (fl.
1620-1649) was the first to publish the use of mixed tablature – a combination of alfabeto and Italian tablature. The invention of mixed tablature facilitated a much higher level of mastery in composition and the alternation between chordal strumming (rasgueado) and individual plucked notes (punteado) became a common feature in Spanish music. As guitar music became increasingly virtuosic and polyphonic in the second half of the seventeenth- century, guitarists elected to start using Italian tablature and abandoned the other forms (at least in art music).
Figure 3. Mixed tablature from Francesco Corbetta in 1639.
Francesco Corbetta (1615-1681) was arguable the most influential guitarist in the early Baroque era. As a performer, he played across Europe and 14
served in the courts of King Louis XIV of France and King Charles II of England.7
As the popularity of the guitar rose in the French court, several other courts across Europe pursued guitarists to add to their court musicians. In addition to
Corbetta’s impressive history of performance and service, he was also the most prominent teacher in his time. His students included several of the great
Baroque guitarists, including Giovanni Battista Granata (1625-1685), Robert de
Visée (1660-1724), and Gaspar Sanz (fl. 1674-1697).
The main obstacle for transcribing Baroque guitar music to the modern guitar is the reentrant tuning systems that were used starting near the middle of the seventeenth-century. Unlike the modern guitar, which is tuned in order from lowest pitch to highest pitch, reentrant tunings raised the bass strings by an octave, and depending on the guitarist, additional octaves could be created with the doubled strings (see figure 4). Reentrant tunings were used more frequently as the campanella8 effect became increasingly popular. If guitarists transcribe music from Gaspar Sanz or one of the Italian composers, then there won’t be any notes written below the third string on the modern guitar. Sometimes the solution for transcribing music from another instrument to the guitar is to simply change the octave. In this case however, if the notes from the fourth and fifth string were be lowered by an octave, the campanella effect would be lost.
There are many instances that require detailed artistic judgment to make
7 Glise, The Guitar, 66.
8 Campanella is Italian for “little bell”. This effect is achieved when consecutive scale degrees are played across strings allowing the notes to resonate over one another. 15
transcriptions, and other instances in which, as guitar scholar Anthony Glise describes, “The solution is… there isn’t one.”9
Figure 4. Five-course guitar tunings from significant composers.
Transcription and Arrangement
Transcription and arrangement have long accompanied the history of the guitar and its ancestral plucked instruments. The sources for these arrangements can be varied, and more often than not, they come from outside the plucked instrument genre. The earliest example appeared almost 500 years ago. Vihuelist and composer Luis de Narvaez (1490-1547) published his Los seys libros del dolphin (1538), a collection that included intabulations from popular masses by Renaissance composer Josquin des Prez. There are very few surviving
9 Glise, The Guitar, 69. 16
transcriptions or arrangements from the guitar between the Renaissance and the nineteenth-century. This is likely due to the idiomatic style of the guitar during the Baroque era. The chordal strumming of the alfabeto, and later the campanella tunings, made it less likely to be used for intabulations and arrangements.
In the nineteenth century, the increasing popularity of the guitar and the desire to reproduce music from large stage productions led to the creation of valuable additions that remain standards of concert repertoire. Perhaps the most famous example is Fernando Sor’s Op. 9 Variations on a Theme by Mozart, which borrows a melody (That Sounds so Lovely) from the opera The Magic Flute.
In the 1820’s, Italian guitarist Mauro Giuliani composed his six Rossiniane, a monumental set of opera fantasies based on arias from Gioachino Rossini’s operas. Two decades later, Austro-Hungarian guitarist Johann Kaspar Mertz composed six arrangements of Schubert lieder, Schubert’sche Lieder fur die
Guitare.
Francisco Tárrega is one of the most important individuals in the expansive history of guitar transcription. Included in Tárrega’s output of more than 200 transcriptions are pieces by significant composers, including
Beethoven, Berlioz, Chopin, Grieg, Handel, Mendelssohn, Schubert, Schumann,
Strauss, and Tchaikovsky. It is arguable that Tarrega’s greatest contributions to the guitar were his pioneering transcriptions of J.S. Bach’s music. These transcriptions were the impetus for a now celebrated tradition of performing
Bach on the guitar. Tarrega’s scholarship inspired his pupil, Emilio Pujol, who 17
began his own effort to transcribe the entire oeuvre of Renaissance vihuelists and lutenists, including Luis de Narvaez and Alonso Mudarra.
The Eighteenth Century: The Baroque Guitar, Spain, and Scarlatti
With the complications of transcribing repertoire from the Baroque guitar, Baroque keyboard music is generally a better source for the modern guitarist to access Baroque music. Spanish guitar expert Guy Chapalain explains that the “Baroque era provides us with a particularly important commentary … on the evolution of the classical guitar.”10 In Spain, the Baroque guitar occupied an important role in both popular and traditional music. Many of the composers during the eighteenth century in Spain were influenced by popular music.
Scholars have long noted the guitar’s influence on the keyboard works of
Domenico Scarlatti, Antonio Soler, and others. Spanish Baroque keyboard works, which often feature a compositional texture with sparse use of the left hand and a limited overall range, adapt quite well to performance on the modern guitar.
Creating transcriptions of this music allows guitarists to explore the height of eighteenth century Spanish style as achieved by the Spanish keyboardists.
Eighteenth-century keyboard music is frequently presented in classical guitar concerts, most commonly as transcriptions of the music of Bach, Scarlatti, and to a lesser degree Antonio Soler. Although Bach is arguably the most
10 Guy Chapalain, “Les traits stylistiques guitaristique dans l’écriture des années 1890-1920,” in La Musique entre la France et l’Espange: intéractions stylistiques 1870 et 1939 ed. Louis Jambou (Paris: Université Paris- Sorbonne, 2003), 253-67. 18
influential of these composers, Spanish composers have a special significance to modern guitarists. Scarlatti was born and raised in Italy, but the style in which he composed these sonatas was undoubtedly Spanish; in fact, the vast majority of his keyboard sonatas were written while he was living in Spain. Scarlatti moved from Portugal to Spain in 1729 to be in service of the future Queen, Maria
Barbera, and stayed until his death in Madrid in 1757.11 Scarlatti’s relocation exposed him to the guitar, the national instrument of Spain, which Kirkpatrick asserts, had a “profound influence on Scarlatti.”12
In Maria-Alexandra Francou-Desrochers’ thesis, “Resituating Scarlatti in a
Nationalist Context: Spanish Identity in the Goyescas of Granados,” she
“demonstrates how (Scarlatti) became an important symbol of “authentic”
Spanish Identity for… composers in Spain,”13 Scarlatti was influenced by Spanish music, and in turn he contributed to how other Spanish composers presented their own national identity through music. Guitarists have long recognized their symbiotic relationship with Scarlatti’s keyboard works. More than 200 of his sonatas have been published as either solo or duo guitar transcriptions. His works demonstrate how keyboardists represented Spanish music by employing a number of techniques that were imitative of the guitar.
11 Ralph Kirkpatrick, Domenico Scarlatti (Princeton: Princeton University Press, 1953), 137.
12 Ibid., 205.
13 Maria-Alexander Francous-Descrochers, “Resituating Scarlatti in a Nationalist Context: Spanish Identity in the ‘Goyescas’ of Granados” (master’s thesis, McGill University, Montreal, 2009), Abstract, ProQuest Dissertations & Theses Global. 19
II. Manuel Blasco de Nebra
Biography
Many of the existing literary references to Manuel Blasco de Nebra quote the same sources, resulting in accounts that are confined to one or two short paragraphs. The essential information that is documented (dates, employment history, and compositional output) come from the periodical Gaceta de Madrid.14
This shortage of documentation is not surprising as de Nebra was not widely recognized in his time and lived a rather abbreviated life (1750-1784).15
One source lists de Nebra’s birth year as 172416, however several other sources corroborate that he was born in Sevilla in 1750. De Nebra was born into a family with a history of well-respected musicians. His father, José Blasco de
Nebra, was the organist at the cathedral in Sevilla and his uncle José de Nebra, was one of the leading composers and organists in Spain.17
14 Linton Powell, A History of Spanish Piano Music (Bloomington: Indiana University Press, 1980), 24.
15 Ibid., 24.
16 Manuel Blasco de Nebra, Seis sonatas para teclado de Manuel Blasco de Nebra: Edición a cargo de Maria Inmaculada Cárdenas Serván (Madrid: Sociedad Española de Musicologia, 1987).
17 Ann Livermore, A Short History of Spanish Music (New York: Vienna House, 1972), 110-113. 20
Several sources indicate that de Nebra studied with his uncle.18 This would explain why his uncle was inspired to finance de Nebra’s relocation to study and perform in Madrid in 1766. Over the next two years, de Nebra gained a reputation as a prodigious sight-reader and a promising composer. De Nebra remained in Madrid until in 1768, whereupon the death of his uncle and subsequent dissolution of funding, he had to return home to Sevilla.
There, he worked alongside his father until he eventually replaced him as the principal organist at the cathedral in Sevilla. It is likely that he had contact with the great Spanish composer Antonio Soler, who was also a student of his uncle. Since Soler also studied with Scarlatti, this placed de Nebra in direct contact with two of the great keyboard composers in Spain during the eighteenth century.19
Extant Compositions and Important Discoveries
In his lifetime, de Nebra composed 172 pieces.20 Until Robert Parris’s discovery in the Library of Congress in Washington D.C. in 1963, all of his works were thought to have been lost in a fire at the Osuna Monastery. The works
18 Gilbert Chase, The Music of Spain (New York: W.W. Norton & Company Inc., 1941), 117; Livermore, History Spanish Music, 110-113; Powell, Spanish Piano Music, 24-26.
19 William Newman, The Sonata in the Classic Era (Chapel Hill: The University of North Carolina Press, 1963), 229.
20 Powell, Spanish Piano Music, 24. 21
discovered were de Nebra’s Opus 1 Sonatas. Of all of the known compositions, these sonatas were likely written last (published 1780). By this point, de Nebra’s keyboard sonatas evolved into two-movement forms: Adagio and Allegro. These six sonatas also exhibit greater equality between the right and left hands and a more liberal use of dissonant harmony. These sonatas also display elements of classical sonata form, as well as the influence of Scarlatti, as exemplified by repeated short phrases, extremely dissonant chords, traditional rhythmic elements, and guitar-like motives.
Finnish composer Bengt Johansson discovered the second collection of De
Nebra’s works in 1980. Johnsson found this collection at the Montserrat
Monastery in Catalonia, Spain, thus referred to as the Montserrat Manuscript.
The Montserrat Manuscript contained the six Opus 1 Sonatas discovered by
Parris in the Library of Congress, plus twelve additional two- movement sonatas, and six pastorelas. The twelve sonatas that are not redundancies are of a similar breadth and caliber to the Opus 1 Sonatas. In these pieces, de Nebra used traditional Spanish elements such as acciaccaturas, mimicking of guitar, and the repetition of short motives while exhibiting a more refined classical sonata form.
Each pastorela contains three modified binary movements: adagio, pastorela, and minuet.21 These compositions exemplify de Nebra’s late period compositional prowess, displaying the highest level of de Nebra’s sophistication as a composer. Unfortunately, it is unlikely that these pieces can be effectively
21 Manuel Blasco de Nebra, 6 pastorelas y 12 sonatas para fuerte piano: MS. 2998 arxiu de Montserrat; Edited by Bengt Johnsson (Copenhagen: Edition Egtved, 1984). 22
transcribed for solo guitar because they are more idiomatic to the keyboard than his earlier compositions.
Sonatas 107-112
The six sonatas transcribed in this document were discovered in the
Osuna Monastery in Sevilla.22 Spanish Music Professor Maria Inmaculada
Cardenas Servan discovered the Osuna Manuscript in 1977, but did not publish the scores until 1987.23 These sonatas, numbered 107-112, are certainly the earliest compositions of his known works.
With Spanish folk music influences and guitar aesthetics, these works are evocative of Scarlatti and Soler. Unlike the later sonatas and pastorelas, these sonatas are adaptable to the guitar. Aside from a few instances of pedal figures, the left hand of the keyboard translates quite well to simple thumb- plucked bass notes on the guitar. Also, the keys of G major, E minor, A minor, D major, Ab major, and C minor are quite idiomatic for the guitar or can be easily transposed to another closely related key, for instance C minor to A minor.
22 Blasco de Nebra, Seis sonatas.
23 Ibid. 23
III. INFLUENCE OF THE GUITAR
Scarlatti’s Influence
Spanish nationalist composers were inspired by the music and techniques of the guitar while working to create what is now recognized as the
Spanish sound. As a crucial component of the Spanish musical identity in the nineteenth century, composers such as Isaac Albéniz (1860-1909), Enrique
Granados (1867-1916), Manuel de Falla (1876-1946), and Joaquin Turina (1882-
1949), have long been credited with adapting the quintessence of the guitar to other instruments, specifically the piano.
This nationalistic movement is likely to have emanated from a source from well over 150 years earlier. In Maria-Alexandra Francou-Desrochers’ thesis, she claims, “it is possible that Spanish pianists in the nineteenth and twentieth centuries understood guitar techniques in terms of a Scarlattian practice… (he) had defined the keyboard vocabulary that the later Spanish composers would use to inflect their works with the sound of the guitar”, and he
“paved the way for the Spanish piano school.”24 Was it the exoticism of the guitar that drew Scarlatti to imitate the instrument so often? It is not clear that Scarlatti ever played the instrument, however, as Kirkpatrick states, “surely no composer
24 Francou-Descrochers, “Resituating Scarlatti,” 57-59. 24
ever fell more deeply under its spell.”25 His contemporary, native Spanish composers did not show the same affection for representing guitar music in their own works. Indeed, the guitar was seen as a lesser instrument that played much simpler music.
Guitaristic Keyboard Elements
This “keyboard vocabulary” that informs the realization of guitar techniques includes several components: keyboard rasgueado, alternating rasgueado and punteado figurations, internal pedal points, and guitaristic texture.
Keyboard Rasgueado26
Kirkpatrick describes a guitar-influenced technique that he refers to as keyboard rasgueado. Kirkpatrick explains that, “Some of Scarlatti’s wildest dissonances seem to imitate the sound of the hand striking the belly of the guitar, or the savage chords that at times almost threaten to rip the strings from the
25 Kirkpatrick, Domenico Scarlatti, 205.
26 The term rasgueado, in the context of guitar music, refers to strumming the strings of the guitar with one or more fingers of the right hand. 25
instrument.”27 These chords can be found throughout de Nebra’s sonatas.
Example 1 demonstrates his use of sustained acciaccatura chords to imitate the biting sound of a guitar rasgueado.
Musical Example 1. Manuel Blasco de Nebra, Sonata 107, mm. 71-74.28
In Sonata 109, de Nebra imitates a triplet rasgueado in the secondary thematic area. Each chord presentation is an arpeggiated triplet that resolves to a chord on beat three.
Musical Example 2. Manuel Blasco de Nebra, Sonata 109, mm. 27-28.29
27 Ibid., 205.
28 Blasco de Nebra, Seis sonatas, 16.
29 Ibid., 23. 26
Alternating Rasgueado and Punteado
One of the key features found in Spanish guitar music across multiple musical eras is the alternation between punteado30 and rasgueado figurations. In the early Renaissance, guitar music was almost exclusively in rasgueado style.
Alfabeto notation, which only notated rasgueado playing style, evolved into mixed tablature. Mixed tablature combined both punteado and rasgueado, but guitarists eventually abandoned chordal notation altogether for the use of tablature.31 This allowed for more complex punteado notation, and thus, this style of playing became increasingly common.32
One example in which de Nebra uses this technique is in Sonata 110. De
Nebra alternates keyboard rasgueado of a first inversion E chord (V7/V chords) with A major arpeggios. The punteado response culminates in a chromatic run in measures 47 through 49.
30 The term punteado refers to the technique of plucking the strings, as apposed to strumming.
31 Giovanni Foscarini published the earliest known source of mixed tablature in 1630 - Intovolatura di chitarra spagnola, libro secondo.
32 Sylvia Murphy, “Seventeenth-Century Guitar Music: Notes on Rasgueado Performance,” The Galpin Society Journal 21, (1968): 24-32, https://doi.org/10.2307/841425. 27
Music Example 3. Manuel Blasco de Nebra, Sonata 110, mm. 41-48.33
Internal Pedal Points
The use of pedal points in guitar music is very common. Many techniques that call for rapid repetition on the guitar (e.g., tremolo, Alberti- bass, arpeggiation, and pedal points) are applied because of their positive impact on sustain and dynamics – two areas of constant difficulty for the guitar. According to
Kirkpatrick, there are other reasons in which keyboardists might recognize this effect in their guitar-inspired works, “In the Spanish dance pieces its strumming open strings form many an internal pedal point, and its arpeggiated figurations
33 Blasco de Nebra, Seis sonatas, 27. 28
evoke a kind of intoxicating Monotony.”34 One of the most celebrated examples of the effective use of pedal point in guitar repertoire is the famous transcription of Issac Albéniz’s “Asturias” from the Suite Española. The internal pedal in this piece facilitates a rousing atmosphere created through swelling dynamics. The popularity of the guitar transcription of this work is a testament to the effectiveness of the internal pedal technique.
Music Example 4. Issac Albéniz, “Asturias”, mm. 1-3.35
Throughout these sonatas, de Nebra frequently uses pedal points that imitate these same effects on the guitar. In sonatas 107, 109, and 111 de Nebra uses internal pedals in the transition from the primary key area to the secondary key of the exposition. In example 5, he uses direct repetition to restate the pedal motive in the parallel minor.
34 Kirkpatrick, Scarlatti, 205.
35 Issac Albéniz, Leyenda (Barcelona: Juan Bta. Pujol & Co., 1892). 29
Music Example 5. Manuel Blasco de Nebra, Sonata 107, mm 13-20.36
In Sonata 110, the pedal is used for the primary theme in the exposition. The pedal creates tension, which is then magnified by the ornament.
Music Example 6. Manuel Blasco de Nebra, Sonata 110, mm 1-5.37
36 Blasco de Nebra, Seis sonatas, 13.
37 Ibid., 26. 30
Guitaristic Texture
The guitar's influence on de Nebra is evident from a textural standpoint.
As William S. Newman describes, “The texture of this music often seems so ideally suited to the guitar that one must remind himself of the harpsichord and piano specified in the title.”38 What is interesting, however, is that many of the guitaristic passages in these sonatas were not seen in guitar literature until several decades later. It is likely that this playing style continued through aural tradition despite not having any publications. Additionally, at the time these sonatas were written, the smaller version of the modern six-string guitar still did not exist.39
The correlation between de Nebra’s music and the guitar music that followed can be demonstrated by exploring examples of some of these textures and motivic ideas in pedagogical material from the nineteenth-century classical guitar. Estudio No. 1 by Matteo Carcassi, published in 1836, contains common guitar passages that are comparable to the transition in the exposition of Sonata
110. In both pieces the composers take advantage of sustained bass notes under ascending arpeggiation that lead to scalar motion.
38 Newman, The Sonata, 309.
39 Glise, The Guitar, 92. 31
Music Example 7. Mateo Carcassi, Estudio No. 1, mm. 32-43.40
Music Example 8. Transcription Sonata 110, mm. 27-35.
Another example of a common motive that correlates to nineteenth century guitar music is the use of internal pedals in sonatas 107, 109, and 111.
Although there are a plethora of examples from guitar repertoire from which to choose, Fernando Sor’s Estudio No. 2 is one of the most recognized pedagogical examples. Written in 1815, this piece represents the earliest period of guitar works in the classical style.
40 Mateo Carcassi, Melodic and Progressive Studies, (Mainz: Schott, 1971), 2. 32
Music Example 9. Fernando Sor ‘Estudio 2’ Op. 35, No. 13, mm. 1-5.41
The transition section from Sonata 109 uses the internal pedal in a similar fashion to the study by Sor. The melody is sustained through repetition of the harmony. On the guitar, this allows more dynamic possibilities.
Music Example 10. Transcription of Sonata 109, mm. 13-17.
41 Fernando Sor, Twenty Studies for the Guitar: Andrés Segovia Edition; Edited by Andres Segovia (Milwaukee: Hal Leonard Corporation, 1945), 4. 33
IV MANUEL BLASCO DE NEBRA’S SONATA FORM
Scarlatti: Similarities and Departures
As Powell asserts, “(Scarlatti) had by far the most influence on Spanish keyboard composers of the eighteenth century. The style and form was emulated by numerous Spanish composers of that period, with a gradual shift to the newer trends of Haydn.”42 Powell’s statement applies directly to composers like de
Nebra. In order to show how the influence of Scarlatti manifested in de Nebra’s work, and also where there are departures, it is necessary to understand
Scarlatti’s sonata form. Through the research and analysis of Scarlatti’s music, we can better understand and contextualize the music of de Nebra.
Scarlatti predated the codification of classical sonata form. In fact, his early keyboard sonatas were titled as toccatas, but were later renamed. There are some elements of his sonatas, however, that do correlate with classical sonata form. Similar to classical sonata form, Scarlatti’s sonatas are in binary form with a modulation to either the dominant or relative major taking place by the end of the first half. Also, there are usually some elements of development, or what Kirkpatrick calls, “an excursion” present in the second half, followed by a
42 Powell, Spanish Piano Music, 44. 34
return to the tonic.43 Aside from these components, Scarlatti’s sonatas do not follow the archetype of classical sonata form.
A typical sonata-form movement consists of three main sections, embedded in a two-part tonal structure. The first part of the structure coincides with the first section and is called the ‘exposition’. The second part of the structure comprises the remaining two sections, the ‘development’ and the ‘recapitulation’. The exposition divides into a ‘first group’ in the tonic and a ‘second group’ in another key, most often the dominant.44
One of the most obvious differences is that Scarlatti does not usually repeat the initial theme anywhere after the beginning of the piece.45 The role of the first theme is to establish tonality and to set a general character of the piece.
The theme at the end of each section of the binary form is the only material that is commonly restated.46
De Nebra’s large-scale form is much closer to classical sonata form than the earlier, more personal style of Scarlatti. In fact, these six sonatas are, for the
43 Kirkpatrick, Scarlatti, 264. Kirkpatrick describes the excursion as a modulatory section that is the central piece of the second half.
44 The New Grove Dictionary of Music and Musicians Online, s.v. “Sonata Form,” James Webster, accessed February 20, 2019, https://doi- org.ezproxy2.library.arizona.edu/10.1093/gmo/9781561592630.article.26197.
45 Kirkpatrick, Scarlatti, 266. Kirkpatrick refers to the Scarlatti sonatas that repeat opening material in the beginning of the second half as Closed Sonatas; these are quite uncommon.
46 Ibid., 253. Kirkpatrick uses the term “parallel thematic recapitulation” to describe this type of recapitulation. 35
most part, exemplary of early classical sonata form. The following is an overview of the form for each of the six sonatas.
Sonata 107
Sonata 107 contains a clearly defined exposition, development, and recapitulation. The primary theme of the exposition strongly resembles a
Scarlattian introduction.
Music Example 11. Domenico Scarlatti, Sonata K. 13, mm. 1-9, and Manuel Blasco de Nebra, Sonata 107, mm.1-8. 36
Kirkpatrick refers to this style of opening theme as a “series of trumpet calls.”47
These figurations clearly root the piece in the primary key. The primary theme in this sonata is perhaps his best thematic example of a classical sonata phrase.
Many of his other themes are asymmetrical or rely on sequential movement, whereas this theme is in sentential phrase form.
The transition section in Sonata 107 uses an internal pedal, one of de
Nebra’s most common transitional methods. In this instance, the four measures of internal pedal are simply repeated with a lowered third - modulating from D major to D minor. The second half of the transition features keyboard rasgueados on V7/V chords with alternating octave pedals. The most typical sections to find de Nebra’s use of guitar-inspired techniques in these sonatas is in the transition and development sections.
The development in this sonata begins with imitation of the rhythmic motive from the primary theme material before repeating the transition section in G major. This is the only sonata in which de Nebra does not restate the primary theme in the recapitulation; however, it is also only one of two sonatas that has a recapitulation of the transition section. In measure 79, the secondary key theme is restated in the primary key of D major. In this sonata, de Nebra broadly achieves sonata form; however, omitting the restatement of the primary theme limits the effectiveness of the recapitulation.
47 Kirkpatrick, Scarlatti, 261. 37
Sonata 108
The primary theme in Sonata 108 is another example of a Scarlattian introduction. Unlike the primary theme in Sonata 107, this one is asymmetrical with a four bar sequence leading to three bars of cadential movement. The transition section only lasts four bars, followed by a repeat. The quarter-note rests make the unprepared modulation to G major less abrupt. The secondary theme contrasts the primary theme with triplet arpeggios, but recalls the dotted- note character of the primary theme in the antecedent of each phrase.
In the development, de Nebra uses acciaccaturas to alternate between punteado and rasgueado. Throughout the development, this series of harmonically dissonant, pungent chords weave back to E minor for the recapitulation at measure 57. The recapitulation in Sonata 108 features the primary, secondary, and codetta themes restated in tonic (E minor), but rather than using the transitional material from the exposition, de Nebra moves from the primary theme to the secondary theme without interruption.
Sonata 109
In the primary theme of Sonata 109, de Nebra emulates Scarlatti through his use of repetition. The same melody encircles the tonic three times with a different bass note at the start of each measure. The transitional material features an internal pedal, first in A minor, then C major following quarter-note 38
rests. Like the primary theme, the transition section uses appoggiaturas to embellish the descending lines.
The secondary theme features some of de Nebra’s most guitaristic writing. He uses rasgueado-like triplets, which first appear in the Phrygian mode
– a common feature of Spanish music. The second statement of the secondary theme is in C major, but also hints at E Phrygian in the bass line.
True to form, de Nebra recalls the internal pedal material from the transition section for the development. He works the pedal material through C major, D minor, followed by E major in measure 57; the E major dominant sets up the return of primary theme in the recapitulation. This recapitulation does not contain transitional material, nor does the E Phrygian part of the secondary theme get restated. Finally, the codetta material is restated in A minor.
Sonata 110
The primary theme of this sonata begins with an internal pedal that alternates with a descending step-wise scale in period phrase form. The transition section introduces alternation of a tri-tone interval to destabilize the key before arpeggiation and scales move the tonal center to A major. The secondary theme recalls the spirit of the guitar with keyboard rasgueados of first inversion E7 chords, occasionally preceded by rapid punteado acciaccaturas. The codetta in this sonata is one of his longest, and features a dance-like folk theme with repeated V7 to I motion. Oddly, the first section ends with a suspended F 39
over an A bass; it is certainly a notational error and should be replaced by octave
A’s.
This sonata does not contain a development section. Instead, de Nebra starts the second section of the binary form with a restatement of the primary theme in A major, rather than D major. Like Sonata 107, it appears that de Nebra was sometimes comfortable with an alteration of the primary theme – a key change in this case, signaling actual development in Sonata 107 – as sufficient to executing the sonata form. Although this sonata omits the development section, it is one of only two that restates the transitional material in the recapitulation. A short, new melody is introduced in measures 97-105. This is the only instance outside of the development that de Nebra introduces new material in the second half of the binary form.
Sonata 111
In the set of the six sonatas, this one is an anomaly. In terms of the larger form, it is arguably the closest to having all of the elements of classical sonata form present, but the redundant phrases in this piece render the form difficult to hear as such. This piece not only contains overly frequent use of repetition, but the secondary theme is arguably a varied repetition of the primary theme. The only element that contrasts these two main themes is de Nebra’s typical use of the internal pedal transition - even the codetta section features similar motives to the primary and secondary themes. The development works through secondary theme and transitional material to get back to the primary key. This 40
recapitulation is the only one of the six sonatas that restates the primary theme, the transition, the secondary theme, and the codetta all in the primary key area.
Sonata 112
The repetitive nature and sequential movement of this sonata are evocative of Scarlatti. Repeats, arpeggiation, and use of the leading tone in each measure of the primary theme firmly establish the primary key. First, the transition section uses a variation of primary theme in A minor followed by a repeat in C major. The secondary theme is characterized by ascending bass and treble lines against a high pedal G. The exposition ends with a codetta that imitates the primary theme in C major.
The development uses transitional material to work through C major, D minor, and E minor, then restates the primary theme in E minor. The recapitulation contains the primary theme, the secondary theme, and codetta in the primary key, but does not include the transitional material from the exposition. The use of acciaccaturas to embellish downbeat chords throughout this sonata is also quite guitaristic. 41
V. Spanish Folk Music and its Influence on Manuel Blasco de Nebra
Spanish folk music has an incredibly rich and relatively well-preserved tradition. Spain’s unique geographical position, and a history that includes significant foreign invasions and migrations, has over time lead to a unique blending of cultural and artistic elements. In his thesis on Spanish nationalism,
Warren Hulberg provides the following reasons for Spain’s distinctive folk music, “ (1) the mingling of many cultures in this area; (2) the topography of the country; (3) the fact that Spanish people are attached to their traditions and tend to keep them alive longer than do peoples of other countries.”48 As each folk music genre and style made its way around the country, individual regions took ownership, changed the title to represent their locality, and manipulated the music with their unique cultural influences.
The guitar has always maintained a prevalent role in the folk music traditions of Spain. The most common instrumental pairing was guitar with castanets; most genres of Spanish dance music could be performed with just those two instruments. Naturally, as composers started to write art music that honored these folk genres, the guitar was included as a defining feature. Baroque guitarists also composed art music in the style of the folk traditions. For
48 Warren Hultberg, "Nationalistic Elements in the Piano Music of Four Spanish Composers: Albéniz, Granados, Falla, Turina" (master's thesis, University of South California, Los Angeles, 1959), 46, ProQuest Dissertations & Theses Global. 42
example, Santiago de Murcia (1673-1739), one of the great Spanish Baroque guitarists, composed pieces like Jácaras (inspired by flamenco), Marionas (a popular song form), and a Fandango (traditional folk genre). These are just a few examples of the creation of art music on the same instrument that would participate in traditional folk music performances.
Bolero
The bolero originated in Spain in the second half of the eighteenth century. The style quickly gained popularity across Europe through the next century, inspiring composers such as Beethoven, Weber, Chopin, Verdi, and
Berlioz. The dance that accompanies the bolero is considered to be a classic form of dance rather than folkloric. The distinction arises, because rather than developing through the natural creation processes of folkloric dances, the bolero was instead invented in 1780 by famed Spanish dancer Sebastian Cerezo. The bolero gained prominence rapidly and is still referred to by some as Spain’s national dance. There are two distinct features of the bolero: the paseo and the bien parado. The paseo is characterized by graceful walking or prancing about during the introduction of the song. The bien parado, translated literally as well stopped in English, is a sudden stop that corresponds to the end of the music section. The following examples demonstrate the bien parado in two traditional boleros: Viva Sevilla and Viva la Mancha. These traditional pieces use three and four beats of rest respectively in their bien parado sections. 43
Music Example 12. Viva Sevilla (traditional song).
Music Example 13. Viva la Mancha (traditional song).
With the immense popularity of the bolero during de Nebra’s lifetime, it is possible that this element influenced the way de Nebra chose to conclude his 44
sections and separate key changes. The following musical examples demonstrate how de Nebra stops the music. In this excerpt from Sonata 108, de Nebra uses rests to separate the primary theme area from the transition, and separates the key change in the transition.
Music Example 14. Transcription Sonata 108, mm. 12-22. 45
In this excerpt from Sonata 107, de Nebra uses rests to stop the music before the start of the development, and also between sections within the development.
Music Example 15 . Transcription Sonata 107, mm. 46-62. 46
The most characteristic element of bolero music is the use of prominent triplets or sixteenth notes leading to the second beat of each measure.
Figure 5. Traditional bolero rhythms.49
The bolero originated in Andalusia, but became a fixture of Spanish music across the country. As the nationalistic sound of Spain was developing in the nineteenth century, there was a heavy input from Andalusian aesthetics.50
Foreign composers favored southern Spanish music in their exoticized compositions, which further perpetuated the prominence of Southern Spanish
49 The New Grove Dictionary of Music and Musicians Online, s.v. “Bolero,” Willi Kahl, accessed March 1, 2019, https://doi- org.ezproxy2.library.arizona.edu/10.1093/gmo/9781561592630.article.03444.
50 Francou-Desrochers, “Resituating Scarlatti,” 9. The term to describe the prevalence of Andalusian aesthetics in Spanish national identity is Andalucismo. “In musical terms, Andalucismo referred to a style based on stereotypical formulations of the Spanish musical idiom mainly associated with Andalucía, specifically Phrygian scales, alternations between major and minor modes, melodic ornamentations on a single note, contrasting rhythms between sections, and most importantly, rasgueado and punteado figurations, which recalled the Spanish guitar.” 47
music as a national identity. Composed in 1928, Boléro was one of the most famous pieces by French impressionist composer Maurice Ravel (1875-1937). In this piano reduction score, the characteristic triplets rhythm of the bolero can be easily identified in the left hand. The continuation of the triplets after the second beat of each measure is perhaps less characteristic of a bolero.
Music Example 16. Maurice Ravel, Boléro, mm. 5-10. 48
Isaac Albéniz is recognized as one of the quintessential Spanish nationalist composers. Puerto de Tierra, the fifth movement of his suite
Recuerdos de Viaje, is subtitled bolero. After a brief introduction, this piece offers another brilliant example of this folk style represented in art music. Albéniz is similar to de Nebra in his setting of the characteristic triplet rhythm, often adding dissonant intervals to his arpeggiation.
Music Example 17. Issac Albéniz, Puerto de Tierra. 49
Music Example 18. Transcription of Sonata 109, mm. 30-42. 50
Classical and Baroque guitarists also composed art music using inspiration from folk music. The great Spanish guitarist Fernando Sor (1778-
1839) frequently made use of bolero and seguidilla rhythms in his collection of nine songs for voice and guitar. This example demonstrates the very similar realizations of the bolero rhythm between Sor and Ravel.
Music Example 19. Fernando Sor, Cesa de Atormenterme, mm. 4-12. 51
Cante Jondo
Cante jondo is a term used to describe a style of flamenco singing, characterized by deep, serious, intense, or passionate feeling. Originating in
Andalusia, this style has existed for centuries. Cante jondo is often misstated as a flamenco form itself, however the term more accurately refers to the feeling or aesthetic that can accompany nearly ten different flamenco song forms, including the following: soleares, tonás, sigueriya, saeta, and others. Cante jondo formed through centuries of eclectic influences, incorporating features of music from gypsy, Sephardic, and local traditions. The influence of this style on the overall Spanish music aesthetic cannot be overstated.
The gypsy scale, sometimes referred to as the Byzantine scale, moves between major and minor modes through the use of interchangeable second, third, sixth, and seventh scale degrees. This scale, as well as the use of vocal portamento to slide between notes, helps imitate the intervals in gypsy music that are smaller than a semitone. This sliding effect is prevalent in Spanish guitar and keyboard music. On the guitar, the effect is achieved by maintaining pressure on a note while sliding up or down the fret board. If done correctly, the guitar can imitate the voice. Portamento was not used on early guitar, vihuela, or lute instruments because the gut frets would be pushed out of position by maintaining pressure while sliding. The introduction of metal frets in the nineteenth century allowed for this innovation. This excerpt demonstrates how
Spanish guitarist Francisco Tárrega implemented this technique in his works. 52
Some portamenti are notated by grace notes and others through the notation of guide fingers.
Music Example 20. Francisco Tárrega, Maria, mm. 1-16.
The portamento effect is also evident in Ravel’s Boléro through his use of acciaccatura and melismatic runs. The runs in the first line of the example imitate a vocal solo over a guitar-like chordal accompaniment. The chromatic acciaccatura on the succeeding two lines continue with melismatic gypsy vocal figures. 53
Music Example 21. Maurice Ravel, Boléro.
54
De Nebra’s use of portamento and gliding effect are very similar to Ravel’s interpretation. Parallel uses can be seen in this example from the development of
Sonata 108.
Music Example 22. Transcription Sonata 108, mm. 39-54. 55
Another element derived from the cante jondo traditions that is also seen in Spanish art music is the insistence on and repetition of a single note or short passage. This is a characteristic that merged into cante jondo from Byzantine music influences. This concept is often found in the music of Scarlatti, whereby he will repeat the same musical fragment several times before resolving or moving forward. The following excerpt is an example of Scarlatti’s musical insistence.
Music Example 23. Domenico Scarlatti, Sonata K. 215, mm. 42-53. 56
De Nebra’s use of insistence and repetition are realized in two ways – exact repetition, and repetition accompanied by a moving bass line. Sonata 112 is exemplary of his use of exact repetition. In this piece, de Nebra uses exact repetition to build tension before each section is resolved.
Music Example 24. Transcription Sonata 112, mm. 1-16. 57
The primary key theme in Sonata 109 is exemplary of de Nebra’s second type of repetition. In this excerpt, de Nebra repeats the same figure three times while only changing the bass on beat one of each measure.
Music Example 25. Transcription Sonata 109, mm. 1-12.
Additionally, Cante jondo contributed to the use of melodic embellishment and the use of appoggiaturas in Spanish music. Even from a glance at the sheet music, this influence is obvious in the sonatas of Manuel de
Nebra. Every piece makes frequent use of embellishment and appoggiaturas; it is certainly a defining feature one hears while listening to this music. 58
Fandango
The fandango is one the most recognized song forms from Spain. The fandango was heavily influenced by flamenco when it began in Andalusia, and as the fandango spread, each region claimed ownership of the form with their adaptations and input on the style. The resulting variations were named after the region from which they came, e.g. murcianas, malagueñas, rodeñas, sevillanas, granadinas, etc. The popularity of the fandango peaked in the eighteenth century as the style could be found in nearly every corner of the country.51 The mood of the fandango is opposite to that of cante jondo; there is a general feeling of energy, joy, and vivaciousness. Most commonly, fandango has a triple meter, is in a minor key, and is accompanied by guitar and castanets. Although there are many variations, the most typical rhythmic patterns are in 3/4 time and are similar to bolero and seguidilla. The following common fandango patterns illustrate the similarities between the rhythms of these styles.
Figure 6. Traditional Fandango Rhythms52
51 Hulberg, “Nationalistic Elements,” 62.
52 Ibid., 64. 59
The melodic characteristics of the fandango often feature an exchange between arpeggiation and scales with leading tones. The following excerpt from Antonio Soler’s popular Fandango for keyboard illustrates this concept.
Music Example 26. Anotonio Soler, Fandango, mm. 59-69.
This textural feature is also found throughout de Nebra’s sonatas. The following excerpts from Sonata 109 and Sonata 110 show the interplay between arpeggios and scalar runs embellished by appoggiaturas and a few instances of raised scale degrees. 60
Music Example 27. Transcription Sonata 109, mm. 21-33.
Music Example 28. Transcription Sonata 110, mm. 31-50. 61
Sevillana
Sevillana is a genre of folk music named for Sevilla, the city where de
Nebra spent most of his life. Like most folk music from southern Spain, sevillanas are an amalgamation of the various cultures present in that city and a unique adaptation of the seguidilla and fandango genres. This was one of the most popular folk dance genres during de Nebra’s lifetime. Although there are many variants, the characteristic rhythm is very similar to the rhythm of the seguidilla and the bolero. The sevillana rhythm does not appear in these sonatas, however, the jubilant nature of the sevillanas is common in de Nebra’s work. This jubilant sentiment is evident in the introduction of Sonata 107.
Figure 7. Traditional sevillana rhythm53
53 Hultberg, “Nationalistic Elements,” 106. 62
Music Example 29. Issac Albéniz, from Suite Español, III. “Sevilla”, mm. 1-10. 63
VI. TRANSCRIPTION ISSUES AND SOLUTIONS
Choosing a Key
Selection of a key is one of the first decisions that must be made when transcribing a piece. Every instrument has idiosyncrasies that can complicate the process. The influential sixteenth-century music theorist Juan Bermudo instructs that, “When arranging a piece of music, it is important to choose a key with playability in mind, one that best fits idiomatic characteristics of the instrument.”54 To Bermudo’s point, one of the most important considerations when making guitar transcriptions is trying to find a key that takes advantage of the open bass strings E, A, and D. Of course this is very limiting, but often time the alternatives would make some transcriptions for solo guitar prohibitive.
The keys that are most idiomatic in standard tuning on the guitar are: A major, A minor, E major, E minor, D major, D minor. Scordattura can be used in the case of D major, D minor, or G major, for example lowering the sixth string a whole step to D, to maximize the use of open strings. Figure 2 illustrates that the common feature of each of these optimal keys (with the exception of G Major) is that at least two of the three bass strings contain the root of either the I, IV, or V chords – an incredibly useful feature in tonal music transcriptions.
54 Paul Sparks and James Tyler, The Guitar and Its Music: From the Renaissance to the Classic Era, (Oxford: Oxford University Press, 2002), 196. 64
Figure 8. Standard guitar tuning from sixth string to first, left to right.
Another consideration when choosing a key for a transcription is musical effect. For instance, Sonata 107 is in G major, typically a quite comfortable key for the guitar if using scordatura tuning. In this key, however, the melody mostly remains in the lower range of the guitar. The register of the piece is not an issue when played on keyboard; however due to the fact that the guitar sounds an octave lower than the notated pitch, the melody in this sonata lacks vibrancy.
Music Example 30. Manuel Blasco de Nebra, Sonata 107, mm. 1-4. 65
To solve this issue, I transposed this sonata to D major, a closely related key. The melody has more energy in this higher range and the use of D major, coupled with tuning the sixth string to D, provides another open tonic bass string.
Musical Example 31. Transcription Sonata 107: D major transposition, mm. 1-5.
In some cases, transposing to a more comfortable key and using a capo can help maintain the original key.55
55 A capo is a device used to press all of the strings across a single fret of the guitar. This allows guitarists to change key without having to change left hand fingerings. 66
Music Example 32. Manuel Blasco de Nebra, Sonata 112, mm. 1-4.55
I transposed Sonata 112 to A minor, one of the most natural keys for the guitar, and will place a capo on the third fret. All of the difficulties of playing in C minor are removed, but the piece will still be heard in the original key.
Music Example 33. Transcription Sonata 107: A minor transposition, mm. 1- 4.
Pedals Points with Shifts
Pedals require a constant alternation between a single note and moving line. Additionally, the use of pedal in de Nebra’s work is always accompanied by a simple melody. If the melody over the pedal point goes higher than 67
approximately the fifth fret, then a shift is necessary to continue the pedal below the melody.
In measures 13-16 of Sonata 109, two separate examples of this issue occur simultaneously. In measure 14, it is necessary to shift from first position to seventh position in the middle of an eighth-note pedal. In order to accomplish this shift, I have lowered the pedal an octave to make use of the open sixth string.
This change is less obvious when listening to a performance of the piece because of the change in texture in that part of the measure. In measure 15, the first pedal note has been removed to facilitate the appoggiatura and to allow for a shift back to first position for the repeat. Because the pedal ends on beat 1 of measure 17, the omitted pedal note from measure 15 is less prominent.
Music Example 34. Transcription Sonata 109, mm. 13-16. 68
Acciaccatura to Keyboard Rasgueado
In order to capture the effect of the keyboard rasgueados, there are a few cases in which the notes are written as a rolled chord instead of a series of grace notes leading to a downbeat. In measure 21 of Sonata 107, the acciaccatura notation is rewritten to form a rolled E7 chord.
Music Example 35. Manuel Blasco de Nebra Sonata 107, mm. 21-24.56
Music Example 36. Transcription of Sonata 107 with acciaccaturas rewritten as chords. 69
Ornaments
Some of the single-note acciaccaturas are very difficult to play when attached to faster passages. As a result of the resolution of single-note acciaccaturas from an upper neighbor down to the principle note, many of them can be played using a left hand pull-off. Where possible, I recommend playing them as cross-string trills.
It is recommended to play either AIMP56 when starting with the upper auxiliary, IAM when starting from the principle note, and either MI or AM when doing a single cross-string acciaccatura.
Figure 9. David Russell’s guide to playing two-string trills.57
56 Guitarists refer to the right hand fingers by the first letter of their names in Spanish: Pulgar=thumb, Indicio=index, Medio=middle, and Anular=ring.
57 David Russell, “Two-String Trills,” David Russell Classical Guitar, accessed April 7, 2019, http://www.davidrussellguitar.com/index.php/ home/tips for guitarists/126- two-string-trills. 70
This right-hand cross-string ornamentation will produce a lighter and more fluid sound, thus sounding more like a keyboard. This technique is easier to execute and relies less on left hand strength and speed.
Some additional written ornaments are either impossible on the guitar, or the attempt to execute them negatively affects the music. For example, all of the turnarounds have been removed with the exception of the primary theme of
Sonata 110. Also, several single-note acciaccatura notes were removed in each of the sonatas. 71
VI. CON LUSION
C
Manuel Blasco de Nebra was one of the most significant composers in the history of Spanish music. Although his life span was rather short, he established an impressive reputation in Madrid and Sevilla, and his extant compositions confirm his capability and his value to the Spanish music tradition. De Nebra has not received proper recognition because his compositions were thought to have been lost for almost 200 years. It is now evident that his unique position in the timeline between Domenico Scarlatti and the Spanish nationalist composers of the nineteenth-century makes him an important link between musical eras and styles; few Spanish composers contributed to the Spanish Baroque keyboard sonata genre using actual classical sonata form.
De Nebra’s implementation of guitaristic aesthetics in his compositions is further confirmation of the prominence of the guitar in Spain during the Baroque era. The close relationship that de Nebra shared with his uncle contributed to his intimate knowledge of the compositions of Scarlatti, which in turn gave him familiarity with Scarlatti’s techniques for evoking the guitar through the keyboard. The influence of Scarlatti is ever present in de Nebra’s six sonatas through these guitaristic keyboard elements and in the character of de Nebra’s phrases. 72
Spain has a unique and lasting folk music tradition that evolved through an amalgamation of gypsy, Moorish, and Sephardic musical elements integrating with the individual musical traditions of each diverse region of Spain. De Nebra spent almost his entire life in Andalusia. The folk music of Andalusia became increasingly significant in the second half of the nineteenth-century as Spanish composers, and composers abroad began featuring traditional Andalusian aesthetics in their art music. De Nebra’s music is heavily influenced by
Andalusian folk music. He was raised in an environment in which this distinct style was ever-present. De Nebra’s sonatas contain many instances where he chose rhythmic motives from regional folk music genres for the various themes of his sonatas. He created art music that was truly representative of his culture.
These six sonatas were largely written in a guitaristic texture, which allowed for optimal preservation of the music through the transcription process.
Similar to the music of Scarlatti, these six sonatas by de Nebra sound as if they were originally intended for the guitar. These new transcriptions are valuable additions to eighteenth century guitar repertoire, offering guitarists access to new music that was originally composed with the inspiration of the guitar and with the influence of the unique Spanish folk music tradition. It is my hope and intention that guitarists will increasingly add these pieces to their repertoire, and that the wonderful music of Manuel Blasco de Nebra can finally receive due recognition. 73
Appendix
Transcriptions:
Sonata107
Sonata 108
Sonata 109
Sonata 110
Sonata 111
Sonata 112 74 SONATA 107
œj œ™ œ™ œ œ œ œ ## c œ™ j œ™ œ œ ˙ œ œ œ œ œ & œ Œ w œ œ œ w œ œ œ œ œ
5 œj œ œ™ œ œ œ Œ # œ œ œ™ j œ™ œ ™ œ & # œ œ œ œ œ œ™ œ ŒŒ œ œ œ ˙ œ œ œ œ œ ŒÓ
9 œ œ ## ˙ œ œ œ œ œ œ œ ŒŒ & w œ œ œ w œ œ œ œ œ œ œ œ œ™ œ œ œ œ ˙ œ
13 j j j œ j # Ó Œ‰ œ ‰ œ ‰ œ ™ œ # ˙™ ˙™ œ Œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙™
17 Ó Œ‰ œj œj œj œ™ œj # ˙™ ‰ ˙™ ‰ œ & # œn œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ ˙n Œ o o o ™ 75 2
21 œ œ œ #w œ œ œ w œ œ™ ## w œ œ œ œ œ œ œ #w œ œ œ œ™ & œw œ œ œ œ œ œw œ œ œ œ œ Œ Ó œ Œ œ Œ
25 œ œ œ j j œ # œ# œ™ œ# œ œ j œ ‰ œ# # œ™ ˙ ˙ œ œ œ ˙ œ & œ# ™ w œ œ œ# ™ œ œ œ Œ œ œ œ œ Œ œ Œ œ Œ Ó ˙™ œ# œ ŒŒ Œ
30 j ‰ œ j j ‰ œ œ œ œ ‰ œ œ œ # ˙ œ œ# ˙ œ œ# ˙ œ œ# œ™ ‰ œ# œœ œœ œ# œ & # œ œ œ œ ˙™ ‰ œ #œ™ œ Œ œ œ ˙™ ™ Œ œ Œ Œ œ Œ
35 j œ # œ œ œ œ œ œ ‰ œ# & # œ œ œ œ œ œ œ œ œ# œ ŒÓ ˙ œ œ œ œ Œ œ œ œ Œ Ó ˙ œ œ œ
39 j ‰ œ j j ‰ œ œ ˙ œ œ ˙ ‰ œ œ ˙ œ ## œ œ œ# œ œ# œ œ œ# & œ œ œ œ œ Œ Œ Œ 76 3
42 # œ™ ‰ œ# œ œ Œ œ œ œ# œ œ œ œ œ œ œ & # ˙™ #œ™ œ œ œ œ œ œ œ œ# ˙™ œ™ œ œ œ œ œ Œ Œ œ Œ Ó ˙ œ
46 ## œ œ œ ŒÓ j œn j & œ ™ œ# ™ œ œ œ ™ ™ œ™ œ ™ œ ˙ ˙ œ™ œ œ# œ œ œ œn ™ œ ™ œ Ó ™ ™ Jœ J
50 œn œ j œ™ ™ œ œj j ## œ™ œn œ œn œ ˙™ nœ œn nœ & œ œ™ œ ™ œ ŒÓ #˙™ œ œ œ #˙™ œ œ œ ™ Jœn Œ Œ
54 œ j œ œ™ œ # J ˙™ j œ ™ œ & # #˙™ nœ #˙ œ Œ œn ™ j œ™ œ ™ œ œ œ™ œ œ œ œ ˙ nœ œ œ œ™ œ ™ œ Œ ˙ œ œn ™ ™ œ J Jœ J
58 œ j j j # œ œ œ œ & # ŒÓ ˙n ™ œ ˙™ œ ˙n ™ œ ˙ œ Œ ˙™ œ œ œ ˙™ œ œ œ ˙™ œ œ œ n˙ œ Œ Œ Œ ˙ œ 77 4
63 # Ó Œ‰ œj ‰ œj ‰ œj œ™ œj & # ˙™ ˙™ œ Œ œ œ œn œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ œn œ œ œ œ œ ˙™
67 j j j j # Ó Œ‰ œ ‰ œ ‰ œ œ™ œ & # ˙™ ˙™ œ Œ œb œ œn œ œ œ œ œ bœ œ œn œ œ œ œ œ bœ œ œn œ œ œ œ œ ˙b ™
71 w œ œ œ ## w œ œ œ w œ œ™ œ™ & w œ œ œ œ œ œ œ œ w œ œ œ œ œ œ œ œ œ œ Œ Ó œ œ œ œ œ œ Œ Œ
75 œ # œ œ j # œ œ™ œ œ œ j Œ & œ™ ˙ ˙ œ œ œ œ œ œ™ w Ó œ œ œ œ œ œ Œ Œ œ Œ ˙™ #œ
79 j ‰ œ œ œj œj ‰ œ œ # j œ œ ˙ œ ˙ # œ ‰ œ ˙ œ ‰ œ œ œ™ œ œ œ Œ & ˙ œ œ œ Œ œ œ Œ œ œ œ Œ œ œ ˙™ Œ œ œ œ œ ˙™ 78 5
84 j œ œ œ œ œ œ œ œ œœ j # œ œ œ œ œ œ j œ # œ™ œ™ œ œ œ œ œ œ œ œ ŒÓ œ ‰ œ & œ œ ŒÓ ˙ œ œ œ œ Œ Œ ˙ œ œ Œ œ
89 j ‰ œ j j ‰ œ # œ œ œ˙ ‰ œ œ˙ œ & # ˙ œ œ œ œ œ œ œ™ œ œ œ Œ œ œ œ œ Œ œ Œ œ œ Œ œ ˙™ Œ œ œ™ œ œ œ ˙™ œ™ Œ œ Œ
94 j œœ # œ œ œ™ œ œ & # œ œ œ œ œ œ œ œ œ™ œ œ œ ŒÓ ™ œ œ œ œ œ œ œ œ œ Œ œ ™ œ™ œ œ œ Œ Ó ˙ Œ ˙ ˙ Œ œ 79
SONATA 108
œ œ # ™ œ ™ œ œ™ œ œ™ œ œ™ œ œ™ œ œ™ œ™ œ 3 Œ ˙ Œ ˙ Œ Œ œ# œ œ œ & 4 œ# œ ˙ ˙ œ œ œ œ œ œ œ
6 j œ œ # œ ™œ ™œ œ™œœ™œ œ œ œ œ œ j Œ Œ Œ ™œ ™œ Œ ™ œ# ™œ & œ œ œ œ œ ˙ ˙ ˙ ˙ œ# œ œ œ œ œ# œ ˙ #œ œ œ
12 tr j # j œ j j œ œ j œ œ#œ™ œ œ#œ™ œ & œ œ œ œ œ œ œ œ™ œ œ ŒŒ œ™ œ™ œ œ™ œ™ œ œ œ œ œ œ œ ™ J œ ™ J œ œ œ
17 j j j # œn j œœ™ œ œœ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œŒ Œ & œ œ œ œ #œ™ Œ œ™ œ™ œ™ œ™ œ œ ™ œ Œ #œ œ œ J J J J œ Œ œ# œ œ
3 3 23 3 3 3 œ 3 œ # œ œœ œ œ œ œœ œ œ œ# ™œ j œœœœ œ œ œ œ œœœœ œ œ œ œ j‰ œ ‰ & œ œ œ œ œ œ Œ Œ ŒŒ œ Œ Œ ŒŒ œ ŒŒ 80 2
3 28 3 3 œ œ œ œ œœ œ œ # Œ ™ j‰ Œ œ# ™œ j‰Œ œ j œœœœ œ œ œ & œ œ œ œ œ ˙ œ ‰ œ œ œ ŒŒ œ œ ˙ ˙ œ ‰ œ ŒŒ ŒŒ ˙ Jœ
3 34 3 3 œ œ œ # œ œ œ œ œ# ™ j œ™ œ œ œ œ œ œ œ œ œ œ j ‰ œ ‰ Œ j ‰ Œ œ# ™ j ‰ & œ œ œ œ œ œ Œ Œ ŒŒ œ ŒŒ œ ŒŒ œ ŒŒ
39 œ œ œ j j # j œœ œœ œ œ ™ œ œ ‰ j Œ œ Œ œ™ ŒŒ œ™ œ œ œ œ j & œ œ œ œ œ œ œ œ œ ŒŒ ™ ™ ™ œ œ ‰ œ ™œ œ œ ‰ œ ˙ œ œ œ J J œ œ œ œ œ œ œ ™ J Jœ ‰
45
# œ j œ j œ j œ ‰ œ ˙ œ ‰ œ# ˙ ‰ œ ˙ œ ‰ ‰™ œ œ# ™ j‰ & j j œ ˙ œ œn ˙˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ™ œ œ# J J œ# J œ ŒŒ
50 œ j j j œ œ ™ œ œ ‰ j œ œ ˙ œ œ j # œ œ œ œ œ j œ ˙ œ œ œ# ˙ œ & ™ œ œ œ ™ œ œ ‰ j j‰ ˙ œ ‰ ˙ œ ‰ J J‰ œ œ œ œ œ œ# ™ J Jœ œ œ™ œ œ œ œ Jœ J 81 3
55 j # œ œ ˙ œ ‰ œ œ# ™œ œ™œœ™œ œ™œœ™œ œ œ œ œ œ ˙ œ ‰ ™ œ ‰ Œ ˙ Œ Œ ™œ ™œ Œ ™ œ# ™œ & ˙ œ ˙ ˙ œ# œ Œ J œ# œ Jœ ‰ œ
61 3 3 3 3 tr 3 3 j œ œ œ # œ œœ œ œ œ œ# œ œ & œ œ œ œ œœœ™œœ œœœœ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ œ œ œ Œ Œ Œ œ Œ Œ
66 œ œ œj j # œ œ# Œ œ™œ j œ# œ œ œ œ# ˙# œ & œ œ œ ‰Œ ™ j‰ Œ œ™œ j‰Œ ˙ œ ‰ œ œ œ œ œ Œ Œ ŒŒ œ ŒŒ œ œ ˙ œ ŒŒ ˙ Jœ
72 3 3 3 3 œ œ œ œ œ œ œ œ # œ œ œœ œ œ# œ œ œ œœ œ œ# œ Œ ™ j‰ & œ œ œ œ œ œ œ œ œ œ œ œ 3 3 œ œ Œ Œ œ Œ Œ Œ Œ œ ŒŒ
77 œ œ œj j # Œ œ# ™œ j‰ Œ œ œ ‰Œ œ œ# Œ œ œ œ# œ œ œ# œ œ ‰ ŒŒ & œ ™ j œ™ œ Œ œ™ œ œ œ œ œ œ ˙ œ œ œ ŒŒ ŒŒ œ Œ œ Œ œ Œ 82 SONATA 109
j j j œ œ œ œ œ# œ ‰ œ œ œ œ œ# œ œ œ œ œ œ# œ œj c ‰ œ Œ œ ‰ œ œ œ œ œ & Ó œ Œ Ó Œ Ó œ œ œ œ# œ œ œ Œ Œ
5 j œj œn j œ œ œ# œ œ œ œ œ œ œ j ‰ œ œ œ# œ œ œ œ œ œ œ œ œ Œ ŒÓ & œ œ œ #œ #˙œ œ œ œ ŒŒ Œ Œ œ œ
9 œ œj œ œj j ‰ œ œ œ œ# œ ‰ œ œ œ œ# œ œ œ œ & Ó œ œ œ œ œ# œ Œ œ Œ œ Œ Ó œ Œ œ œ œ œ ˙ œ œ
13 j œ œ œ œ Œ ŒŒ œ œ w ˙ œ œ# ŒŒ œ œ# & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ# œ œ
17 j œ j j œ œ œ œ j œ œn œ œ œ œ œ j œ w œ œ œ œ œ œ# Œ & œ #œ #˙œ œ œ œ œ œ œ œ œ œ œ Œ Ó Œ Œ œ 83 2
21 œ œ ˙ œ œ œ# Œ Ó Ó œ œ œ œ œ# œ#œ J œ œ#œ œ œ œ Ó & œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
3 3 25 j œ j œ œ j œn œ œ œ œ Œ œ ˙ Œ œ ˙ œ œ œ œ & œ #œ œ œ œ œ œ Œ œ œ ˙ œ œ ˙ œ œ œ œ Œ Œ ŒŒ ŒŒ Œ œ œ œ œ œ œ ŒÓ
30 3 3 Œ œ ˙ & œ ˙ œ œ œ œ œ ˙ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ Œ Ó œ œ œ Œ œ Œ ŒŒ œ
34 3 3 Œ œ ˙ œ œ œ œ Œ & œ œ ˙ œ œ œ œ œ ˙ œ œ ŒŒ œ ˙ œ œ œ œ œ œ œ ŒÓ œ œ ˙ œ œ Œ Ó œ œ
3 38 œ# œ j 3 ˙ ‰ œ j œ œ œ œ œn œ œ# œ˙ ‰ & œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ŒŒ Œ œ œ ˙ œ œn œ œ œ Œ œ Œ œ œ ŒŒ œ œ Œ ˙
43 j œ™ j w ˙ œ œ œ œ œ# œ Œ œ œ œ#œ & ŒÓ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œ œ œ œ 84 3 48 œb j j œ# œ Œ Ó Ó œ œ œ œ w ˙ œ œ œ œ nœ J #˙œ œb œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œb œ Œ
53 j Ó œ œ œ Œ Ó œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# Œ Ó œ œ
57 œ œ œj œ œj œ# œ œ œ œ ‰ œ œ œ œ# œ ‰ œ œ œ œ# œ & œ œ œ œ œ# Ó œ œ œ Ó œ Œ Ó œ Œ œ œ# œ Œ
61 œj j j œ œ œn œn j ‰ œ œ œ# œ œ œ œ# œ œ œ œ œ œ œ j & œ œ œ œ œ# œ œ œ œ œ œ œ œ #œ Œ Ó œ œ œ œ œ Œ Œ #œ œ œ œ œ œ Œ Œ Œ ŒŒ Œ œ
66 3 3 3 Œ œ ˙ Œ œ ˙ œ œ Œ œ ˙ & œ #˙ œ #˙ œ œ œ œn œ œ #˙ œ œ ˙ œ œ œ ˙ œ œ Œ Ó œ œ œ ˙ œ ŒŒ ŒŒ ŒŒ
70 3 3 j œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ Œ œ œ Œ œ œ œ œ œ œ œ & œ Œ œ œ œ œ œ œ# œ #˙ œ œ œ #˙ œ œ œ œ œ Ó Œ œ œ ŒŒ ŒŒ ŒÓ 85
4 3 75 3 j œ œ ˙ Œ œ ˙ œ œ ‰ œ œ œ & œ #˙ œ œ œ œ œ œ œ œ œ# œ ˙ œ œ ˙ œ œ œ œ œ œ Œ Œ œ ŒŒ ŒÓ Œ œ
79 j 3 j ‰ œ œ œ œ œ ‰ œ œ œ œ Œ Ó & œ œ œ œ# œ ˙ œ œ œ œ# œ œ Œ œ œ ˙ œ œ Œ œ Œ Ó œ ŒŒ œ 86
SONATA 1 1 0
jT Œ œ œ œ œ œ œ™ œ œ œ œj œ œ œ # ˙ œ œ œ œ & # c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ó Ó œ Œ œ Ó œ Œ Ó œ Œ œ Œ œ Œ œ Œ
6 T œ œ œ ˙ œ œ œ œj # œ œ œ œ œ œ œ œ œ œ & # œ œ œ œ œ ‰ Ó œ Œ J œ œ œ œ Œ œ œ œ œ œ œ Ó œ Œ œ Œ œ Œ œ ŒÓ œ œ Œ Ó
11 j # œ œ œ # j œ œ œ j Œ j j & ‰ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ# œ œ Ó œ œ œ œÓ œ œ œ œ œ œ œ œ œ# œ œ Œ Ó Œ Œ œ Œ Ó œ Œ Ó
16 j œ j # œ œ œ œ j œ œ œ œ œ & # œ œ œ œ œ œ #œ ˙ œ ˙ œ# œ œ Ó œ œ œ œ œ œ œ œ œ œ œ Œ Œ Ó œ ŒÓ
21 œj j œ œ œ œ œ œ œ # œ œ œ Œ Œ œ œ œ # œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ J œ œ œ ˙ œ œ œ œ œ œ & œ œ œ œ œ œ# œ œ œ#œ œ œ œ œ œ œ
27 œj œ œ œ œ œ œ œ œ j œ œ œ ## œ Œ œ# œ œ œ œ œ œ œ œ œ & œ Œ Ó œ œ Œ œ œ ŒÓ œ ŒÓ œ Œ Ó 87 2
31 œj œj tr œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ## œ Œ œ# œ œ œ œ œ œ œ œ# œ œ# ˙™ œ# & œ Œ Ó œ œ ŒÓ œ ŒÓ Ó œ Œ œ ŒÓ
3 36 œ œ œ œ œ œ ˙ # ™ j j Œ œ ˙ œ & # œ œ #œ ŒŒŒ œ ˙ œ œ œ œ Ó Œ ‰#œ œ œ œ œ œ œ œ œ œ J Œ Ó œ# œ w# w
3 3 3 41 ˙ ˙ ˙ # œœ ˙ œ œœ ˙ œ œœ ˙ # Œ œ ˙ œ œ Œ œ# œ ˙ œ œ Œ œ# œ ˙ & œœ œœ œ œ œœ œœ œ œ w# wœ w# wœ w#
46 j œ# œ œ# j œ j # œ œ œ œ œ ˙ œ œ# œ œ# œ & # œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ# ™ œ œ œ œ ŒÓ w œ ŒÓ
51 j j j œ# œ œ j j Œ Œ # œ# œ œ œ œ ˙ œ œ# ˙ # œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ Œ œ# œ ˙ œ# œ œ#œ œ ˙ œ# œ œ œ# œ Œ Ó œ Œ œ ŒŒ ŒŒ œ ŒŒ ŒŒ 88 3
57 # œ œ œ œ œ œ œ œ# œ œ œ œ œ œ ˙ œ & # œ œ œ œ œ œ œ# œ œ œ œ œ œ œn œ œ# œ œ# œ Œ Ó œ œ œ œ œ ˙ œ ŒÓ Œ œ Œ ŒŒ
62 # Œ œ œ# ˙ Œ œ œ œ œ œ œ# œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ #œ œ ˙ œ# œ œ œ# œ Œ Ó ŒŒ œ ŒŒ ŒŒ
67 œ ## œ œ œ œ œ œ œ œ œ & œ œ# œ œ œ œ œ œn œ œ œ# œ œ œ Œ ™ œ œ œ Ó œ Ó œ Œ Ó Œ œ Œ Œ
71 Ó T œ œ # œ œ œ œ œj Œ œ œ œ ## Œ œ# ˙œ J ˙ œ œ# œ œ œ# œ# ˙ & ™ œ œ œ œ œ œ œ œ œœ œ# œœ œ œ œ œ œ œ ŒÓ T ˙ œ ŒÓ œ Œ œ œ Ó Ó ˙ œ Œ Œ
77 œ œ j j # œ œ# œ j œ # œ œ œ œ j Œ ‰ j œ œ ‰ j œ œ œ œ & œ œ œ œ# œ œ œ œ œ œ œ# œ œ œ# œ ŒÓ œ Œ œ œ œ œ œ œ Ó œ Œ Ó œ Œ Œ
82 j j j # œ j œ œ # œ œ œ j ‰ j œ œ ‰ j œ œ œ œ œ œ œ & œ œ# œ œ œ œ œ œ œ# œ œ œ# œ œ# œ œ œ œ œ œ œ Œ œ Ó œ Œ Ó œ œ ŒÓ Œ œ ŒÓ 89 4
87 j œ # j œ œ œ œ# # j œ œ œ œ & œ œ œ œ ŒÓ œ #œ œ ˙ ˙ #œ œ œ œ# ˙ œ œ œ# œ œ œ œ œ œ œ œ œ# œ œ œ œ œ# œ œ œ# œ #œ œ
93 œj # œ œ# œ j # œ Œ Œ œ œ ˙# ™ œ & œ #œ œ œ œ# œ œ œ w ˙ œ œ œ œ# œ œ œ #œ œ œ œ# ŒÓ œ# œ œ œ œ œ œ œ œ
99 œ œj œ œ œ ## œ œ œ œ œ Œ œ œ œ œ & œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
105 œj œj œ œj # œ œ œ Œ œ œ œ œ j œ œ œ œ œ œ j ‰Œ & # œ œ œ œ œ œœ œ Œ œ œ œ œ œ œ œ œ œ ŒÓ ŒÓ œ Œ Ó œ ŒÓ
110 œj œ j ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ & œ œ œ œ œ œ œ Ó œ œ œ# #œ˙™ œ œ ŒÓ œ Œ ŒÓ œ ŒÓ Ó Œ ‰ Jœ
115 3 3 j # œ Œ # œ œ Ó ∑ Œ Œ & œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ Œ Ó œ œ ˙˙ œ œ œ œ œ œ ˙˙ œ Œ Ó Œ Ó
120 # 3 3 # Œ Œ & œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙˙ œ œ œ œ œ ˙˙ œ œ œ œ Œ Ó œ Œ Ó 90 5 125 œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ# œ œ ˙™ œ œ j # œ# œ œ œ j œ œ & ŒÓ œ œ œ# œ œ œ œ œ œ œ ŒÓ œ ŒÓ
130 œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ ## j j Œ œ œ Œ œ œ œ œ œ œ & œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ Œ œ œ œ œ Œ œ ŒŒ ŒŒ œ Œ ŒÓ Œ œ Œ œ œ œ Œ œ
136 œ œ œ œj ˙ œ œ # œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ Œ œ & # œ œ œ œ œ ˙ œ œ œ œ œ ŒÓ œ œ Œ Œ œ ŒŒ œ Œ œ Œ œ œ
141 œ œ œ œ œ œ # œ ˙ œ œ œ œ œ œ œ œ œ # œ œ ˙ Œ œ œ œ œ œ œ & œ ŒŒ œ œ œ œ ŒÓ œ Œ Œ œ
145 # œ œj œ œ œ # œ œ# œ œ œ œ œ œ œ œ ™ & œ œ œ œ œ œ œ ™ œ ŒÓ œ Œ œ Œ œ œ œ ŒÓ œ Œ Ó œ SONATA 1 1 1 91
Allegro
# œ œ œ œ # 3 œ ÆJ œ j œ ÆJ œ & # 4 œ œ œ œ ˙™ œ œ œ œ Œ Œ Œ ™ œ œ
4 # œ œ œ œ ## œ ÆJ œ œ j œ ÆJ œ œ & œ ˙ œ œ œ œ ˙ œ œ J ˙ œ ˙™ œ œ Œ œ œ Œ
8 # œ œ ## ‰ œ œ œ œ œ ‰ œ œ & œ ˙ œ œ œ œ œ œ œ œ ÆJ ˙ œ œ Œ œ Œ Œ œ Œ Œ œ œ Œ Œ
12 œ j # # œ œ œ œ # œ œ œ œ ÆJ œ œ œ j ˙ œ & œ œ ÆJ œ œ œ œ œ ˙ œ œ œ ŒŒ œ œ œ œ œ œ œ Œ œ Œ Œ
16 # # # r Œ œ œ œ & œ œ œ œ œ œ œ ÆJ œ œ ˙ œ œ œ œ œ ˙Ó ™ œ™ œ œ œ Œ œ œ œ Œ
20 # # œj œ œ œj œ œ & # ˙ œ œ œ™ œ œ œ œ œ œ ˙ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 92 2
24 tr œ œ tr # œ œ ÆJ œ œ œ # J ˙™ œ œ œ ÆJ œ ≈ œ & # œ œ œ œ œ œ œ œ™ œ œ œ œ œ Œ Œ œ œ œ œ Œ Œ œ Œ
28 # # # œ œ œ œ œ œ & œ œ œ œ œ J ˙ œ œ #œ™ œ œ œ œ œ œ J ˙ œ œ #œ™ œ œ œ œ œ œ œ œ œ œ œ
32 tr # # œ œ œ # œ œ œ ÆJ œ œ# œ œ œ & œ œ œ œ œ J ˙™ œ œ œ# œ œ ÆJ œ œ œ œ œ œ œ œ œ œ ŒŒ œ Œ Œ
36 j j œ œ j œ œ # # œ œ œ œ j œ œ œ # œ œ# œ œ œ & œ j ‰‰ œ œ œ œ œ ™ œ œ# œ œ Ó œ œ ‰Œ Œ Œ Jœ
40 j j œ œ j œ j # # œ j œ œ œ œ j œ œ œ œ œ œ # œ# œ œ œ œ# œ œ œ œ# & œ œ œ œ œ œ œ œ œ Ó œ œ ‰Œ Œ Ó œ œ Jœ Jœ ‰Œ Œ 93 3
44 # j j œ œ œ œj # œ# œ œ œ œ j œ œ œ# j & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ ŒŒ Ó
48 j j œ œ j œ œ j # # œ œ œ œ j œ œ œ œ j # œ œ# œ œ œ œ# œ œ & œ œ œ œ œ œ œ œ œ œ ‰Œ Œ Ó œ œ ‰Œ Œ Ó œ œ Jœ Jœ
52 œ œj # # œ œ œ œ œ j j j # œ œ# œ œ# œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œœ œ œ Œ Œ œ œ œ Œ #œ Jœ ‰Œ Œ œ
56 Ÿ # # œ œ & # œ œ œ œœ œ œ œ œ œœ œ œ œ œ™ œ œ œ Jœ ‰Œ #œ Jœ ‰Œ #œ Jœ ‰Œ Œ œ
59 j # œ œ œj ## œ œ œ œ# œ œ œ œ & œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ Œ #œ Jœ ‰Œ #œ Jœ ‰Œ #œ Œ
63 Ÿ # # j j & # œ œ œ œ œ œ œ œ œ œ j ™ œ ‰Œ ™ Œ œ œ œ œ œ# œ# œ Œ Œ ™ J œ œ œ œ 94 4
66 ‰ œ # # œ œ œ œ œ # œ œ J œ œ œ œ & œ œ œ œ œ œ œ œ Ó œ œ
68 j j # # œ# œ œ œ œ œ# œ œ# œ œ œ œ œ# œ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
72 œ ‰ œ œ # # œ œ œ Ÿ œ œ J œ œ # œ# œ œ œ# œ œ œ œ j œ œ œ & œ Œ œ œ œ™ œ œ Œ Œ Œ œ Œ œ Œ Œ
76 œj j # # #œ j œ œ œ# & # œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ œ #œ œ œ #œ œ œ œ #œ œ œ œ œ œ# œ œ #œ œ# œ œ œ œ œ # œ œ œ
80 j # j œ ## œ# œ œ œ #œ œ œ œ œ œ# & œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œn œ #œ œ# œ œ # œ œ œ œ œ œ œ
84 œj ‰ # # œ ##œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 95 5
88 # # œ œ œ œ # œ J œ œ j œ J œ œ j & œ œ œ ˙ œ œ œ œ ˙ œ œ Œ Œ ˙ œ œ ˙ œ œ Œ Œ Œ Œ
92 # # œ œ œ œ # œ J œ œ œ J œ œ j & œ œ œ ˙ œ œ œ ˙ œ J ˙ œ ˙ œ œ Œ Œ
96 # ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ
100 œ œ™ œ œ œ J œ œ œ # # ‰ œ J œ œ œ œ œ œ & # J œ œ œ œ œ œ ‰ œ œ Œ Œ œ™ œ œ œ Œ
104 œ œ œ œ œ J œ œ œ œ J œ œ œ # # J œ œ œ œ œ J œ œ œ œ œ & # œ J œ œ œ œ J œ œ œ Ó œ œ œ Œ Œ Ó œ œ œ Œ Œ
108 œ œ œ œ œ œ œ œ œ j œ # # J œ œ œ œ œ œ œ œ œ œ œ œ J œ œ & # œ J œ œ œ œ œ œ J œ œ Ó œ œ œ Œ Œ œ Œ Œ œ œ œ 96 6
112 # # œ œ # œ J œ œ œ œ œ J œ œ œ œ & œ œ J œ œ œ œ œ J œ œ œ œ œ Œ Œ œ J œ œ œ œ J œ œ
116 # # œ # œ J œ œ œ œ œ œ œ œ œ œ œ & œ J œ œ œ J œ œ œ œ œ œ œ œ œ œ J œ œ œ Œ œ œ J œ œ œ Œ Œ Œ
120 # # œ œ œ œ œ # œ œ œ J œ œ œ œ œœ œœ œ œ œ œœ œœ œ œ œ œœ œœ & œ œ œ œ œ œ œ œ œ ‰Œ ‰Œ
124 tr # # œ œ œ œ œ œ œ Ó œ œ # œ ™ œ œ J œ œ J œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ ‰Œ Œ œ œ ŒŒ
128 tr ### & œ œ œ œ œ j ŒŒ œ œ œ œœ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ 97 SONATA 112
‰ j j j 6 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 8 œ# œ œ œ# œ œ œ# œ œ œ œ œ #œ œ ‰‰ Œ Œ Jœ J
5 œ œ j œ œ j œ œ j œ œ œ™ & œ œ œ# œ œ œ œ# œ œ œ œ# œ œ œ œ œ #œ œ Œ œ Œ œ Œ œ œ œ œ œ œ œ J II J œ ‰‰ œ#
10 œ™ œ™ œ™ œ™ œ™ ‰ œ ‰ œ œ œ œ œ œ œ œ ‰ œ ‰ œ & œ œ™œ œ œ™œ œ œ œ# œ œ™œ œ œ™œ œ œ™œ œ ‰‰ œ# œ ‰‰ œ# œ J œ ‰‰ œ# œ ‰‰ œ# œ ‰‰ œ# Jœ
16 j j j j œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ & œ œ œ# œ œ œ™ ‰ œ# œ œ™ ‰ œ# œ œ™ ‰ œ# œ œ™ œ# œ œ Jœ œ œ œ ™ ™ ™ ™ ‰ Jœ ™
22 j j j ‰ ‰ œ œ œ œn œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & nœ™ œ œ œ™ œ œ œ™ œ œ œ™ œ ‰ œ œ™ œ œ™ ™ ‰ ™ ‰ ™ ‰ ™ ‰ œ œ ‰ œ œ œ™ œ™ 98 2
28 ‰ ‰ ‰ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ & œ œ™œ ™œ œ œ# ™œ œ œ œ œ™œ œ œ™œ ‰ œ œ ‰ œ ‰ œ ‰ œ ‰ œ œ™ ™ œ™ œ™ œn ™ œ™ œ™
34 ‰ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ ™ ‰ œ œ ™ & œ œ™œ ™œ œ œ# ™œ œ œ œ œœ™ œ œœ™ ‰ œ œ ‰ œ ‰ œ œ ‰ ™œ œ ‰ ™œ œ™ ™ œ™ œ™ œn ™ ™ œ ™ œ
40 œ œ œ œ ‰ œ œ ™ œ œ œ œ œ œ ™ ‰ œ œ ™ ‰ œ œ ™ œ œ & œ œœ™œ œ œ œ œ œ œœ™œ œ œœ™œ œ œœ™œ œ œ œ œ™ ‰ œ œ œ œ œ™ ‰ œ œ™ ‰ œ œ™ ‰ œ œ J J Jœ J
46 œ j j j œ œ œj œ œj œ œj œ œ œ œ œ œ ‰Œ™ ™ œ™œ œ œ œ™œ œ œ œ™œ œ œ œ™œ œ œ ‰ œ™œ œ# œ & œ ™ œ™ œ œ™ ‰ œ œ™ ‰ œ œ™ œ ™ ‰
52 j j j j œ œj œ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ# œ œ œ#œ ‰ œ™ œ# œ# œ œ™ œ# œ# œ œ™ œ# œ# œ & œ™ ‰ œ œ™ ‰ œ œ™ œ œ™ ‰ œ™ ‰ œ™ ‰
58 œ™ œ# œ#œ ‰ j j j œ & œ™ œ ‰ œ œ œ# œ œ œ œ œ# œ œ œ œ œ# œ œ œ #œ œ ™œ ‰ œ# œ œ™ ‰ œ# œ œ™ ‰ œ# œ œ œ œ œ#œ œ œ œ™ œ# œ ‰ Jœ J œ™ ‰ 99 3
64 œbœ™ œbœ™ œ œ ‰ œ œ™ ‰ œ œ™ ‰ ‰ œ œ & œ ™œ œ œ œ bœ™œ œ bœ™œ nœ œn œ œ œ œ™ œ# œ ‰ ™œ œ œ ‰ ™œ œ ‰ œ# œ™ ‰ œ# œ™ #œ™ œ™ ‰ œ™ œ# ™ œ# ™
70 ‰ œ œ ‰ j œ œ j œ œ j œ &#œ œ ‰ œ œ# œ œ œ œ# œ œ œ œ# œ œ œ œ œ #œ œ œ# œ œ Œ œ Œ œ œ œ œ ‰ œ œ ‰‰ J J
75 œ ‰ œ ‰ œ ‰ œ ‰ œ œ & œ œ œ œ# œ™ œ œ™ œ œ œ œ œ# œ œ œ™œ œ œ™ ™œ œ ‰ œ œ ‰ œ œ œ œ œ™œ œ œ™ ™ ‰ œ™ œ™ ™ ‰ œ™
81 œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ œ œ# & œ œ œ# œ™ œ œ™ œ œ œ™œ œ œ™ ‰ ™œ œ ‰ œ œ ‰ œ œ œ œ œ™œ œ œ™ ™ ‰ œ™ œ™ ™ ‰ œ™
87 œ œ œ ™ œ œ ™ œ œ ™ œ œ œ# œ œœ™œ ‰ œ# œœ™œ ‰ œ# œœ™œ œn œ œ & œ œ œ œ œ ‰ œ ‰ œ ‰ œ Jœ ™ ™ ™ Jœ
91 œ œ œ ™ œ œ ™ œ œ ™ œ œ œ# ˙™ œ œ œœ™œ ‰ œ# œœ™œ ‰ œ# œœ™œ œn œ œ ˙™ & œ œ œ œ œ ‰ œ ‰ œ ‰ œ Jœ ˙ ™ ™ ™ Jœ ™ 100
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