Tough lh! (v1p60)
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(This web page originally appeared as an article in the Washington Guitar Society newsletter No. 30, January 1997.)
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In 1994, Chanterelle published the complete works for guitar of Dionisio Aguado in 4 volumes. I've had a great time with it and hope other guitarists will, too. In a perfect world the library of every guitarist would contain the complete works in facsimile of all the early guitar masters - and many of the somewhat-less-than-masters, too.
First of all, some facts and figures. They're not as boring as they look, but if your eyes glaze over, there is a graphical summary below. You can skip that, too.
There are about 690 pages in the 4 volumes. About 420 pages are devoted to musical works. The other 270 are given over to Aguado's guitar method commentary in French, title pages, catalogs, introductory and biographical material, and musical examples which don't qualify as "pieces".
Of the 420 pages of music, most are devoted to smaller pieces - studies, lessons, exercises, waltzes, minuets and andantes of about a half a page to a page in length. Only a small percentage of Aguado's output took the form of extended works. These are the Trois Rondo Brillants, Op. 2; Air Espagnol Varie, Op. 15; Le Fandango Varie, Op. 16; 2 sets of Variaciones without opus number, and a reworking of Sor's Gran Solo, Op. 14. This adds up to 54 pages for the larger works.
There are about 330 different small works. Some of these appear multiple times: 101 appear twice, 35 appear three times, and 2 appear four times. Adding that up, we see there are about 500 smaller works taking up about 360 of the 420 total pages of music. At least 199 of these 500 small works are waltzes. That's the end of the number crunching, I promise. Here's your graphical summary.
690 pages, Chanterelle's Complete Works of Aguado.
|
|- 270 pages: Aguado's commentary (French), title pages, catalogs,
| introductory and biographical material, etc.
|
|- 420 pages of music.
|
|- 54 pages of "big" works -> 6 works.
|
|- 366 pages of small works -> 500 pieces -> 330 different small works
|
|- 200 waltzes.
|
|- 130 studies, lessons,
exercises, minuets,
andantes...
Of the "big" works, the Variaciones contain the scariest-looking blasts of 64th notes. But if you choose a slow enough tempo and keep a cool head, most of them are negotiable - more or less.
In addition to this big theme and variations, there is a smaller, easier set based on O, Du Lieber Augustine. At two pages, it may be the only example here of an extended, non-virtuosic work.
Another piece which stands alone is a march for guitar tuned to E major. (I recommend E-flat. See my page on alternate tunings.) After putting in a few fingerings, it's not hard to read from the music.
On the other hand, a study in natural harmonics presents a problem in both of its guises - one in music; the other in a semi-tablature showing the open string pitches and fret numbers for the harmonics. To help out, I've worked up a version in a modern tablature. (Find it in the next section, just below this discussion.)
Don't let the preponderance of "small" works disappoint you. You'll find most, if not almost all, delightful. There are pieces that make me feel like, "Why was I fooling around with transcriptions of Beethoven or Chopin all these years, when there are pieces out of the same mold, written for guitar, by a guitarist???" At the same time, they contain many killer technical challenges. What kind of claw for a left hand was this guy born with???
Tough lh! (v1p60)
The repetition of pieces might be viewed as a mixed blessing. It's fun and quite instructive to compare different editions of the same piece. In one case, I liked parts from three different versions so I pieced together a new, favorite version from the three. On the other hand, life is short. Ignorance is bliss.
If you do compare a few of the alternate versions, you will discover different notes, different ties and slurs, different tempo indications, different strings for the same note, and different fingerings. I use the last two as full justification for changing any published fingering in any piece without any qualms.
Michael Macmeeken of Chanterelle was kind enough to let the Washington Guitar Society reproduce a piece in our newsletter. I chose a study in E minor familiar to all guitarists who have Frederick Noad's Classical Guitar anthology (see page 85.) The complete works has two versions. It first appeared as Est. 38 in the Coleccion de Estudios para Guitarra, 1820, and later as Est. 14 in the Nuevo Metodo para Guitarra, 1843. I have laid the two versions out for easy comparison on one page. The 1843 version is given in full, and where the two versions deviate, the measures from the 1820 version are aligned below the corresponding measures from the 1843 version.
Note that Noad used the 1820 version. The 1843 version has quite a few interesting differences in notes and fingerings, but for me, the biggest eye-opener is the double dotted 8th/32nd rhythm in the melody in beat one of measures 3 and 12 (counting partial measures). It's much sparkier than the dotted 8th/16th rhythm, although it raises the question, why didn't Aguado do the same thing in measures 5 and 14?
There are Aguado pieces in 33 different publications in my guitar music collection. I knew I would want to be able to find them in the complete works, so the first thing I did was generate an index for the Chanterelle volumes. Given the key, time signature and opening notes, this index tells you where to find the piece in the complete works. This index is supplied below.
Right off the bat I came up with misses on 3 of the 4 easy studies included in Noad's Classical Guitar anthology. The explanation is that the method in which these pieces appeared, Aguado's Escuela de Guitarra, 1825, is not included in the Chanterelle edition. It has been published separately, though, plus it's safe to assume that most of the music in the Escuela appears by virtue of having been used in other Aguado methods, three of which are included in the Chanterelle.
Of course, I wouldn't subject you to a blow-by-blow comparison of Aguado pieces in my collection with the facsimile versions. Just a few comments, though. Generally, the modern editions are very faithful. I found one instance of an editor simplifying difficult chord formations. (See Two Hundred Years Of Classical Guitar, Clifford Essex Publications, p73, third study, and compare with Chanterelle v1p50.)
I found one instance of an editor sweetening the music. (He did a nice job! See Music For Classical Guitar, Harvey Vinson, p83, and compare with Chanterelle v1p130.) Old Mel Bay publications liked to give romantic titles, such as "Granada Memories" and "Don Quixote", to what were just numbered exercises. And Aaron Shearer left 2 measures out of Leccion 35 from the Nuevo Metodo, 1843. (Classic Guitar Technique, Volume II, page 156. To restore the missing measures, insert measures 3-4 of staff 8 just before staff 10.)
The facsimile presents hardly any reading difficulties. The music in the first section of the Nuevo Metodo, 1843, is set in a clunky but readable movable type.
Movable music type (v2p60)
An oddity in some pieces is the use of circled numbers which look like our string numbers, but really indicate which occurrence of the note up the fingerboard to play. For example, a d'' note with a (2) indication means to play the d'' at fret 7, string 3. In other pieces, this notation does mean string number.
NOT string numbers!
In a few pieces, Aguado is not clear about the desired rhythm - specifically, when he has a dotted 8th plus a 16th in the bass against 16th note triplets or sextuplets in the treble. In all of these cases it seems that he wants the final bass note played simultaneously with the final treble note.
Unclear rhythm. (v1p62)
There are just a few pieces that have those confounded, centered whole notes, but they can be repositioned to the beginning of the measure.
Some of the right hand fingerings are very odd - like repeated use of i throughout rhythmically dotted passages. But then I've never paid much attention to anybody's right-hand fingerings. Nothing personal, Dion, old bean.
Finally, my vote would be for errors to be corrected right in the facsimile. When one person's work can serve thousands, why not?
This Andante comes from Aguado's Nuevo Metodo para Guitarra, 1843 (Chanterelle v2/p82). Aguado presented the piece in two guises - one in pure music showing the sounding pitches; the other in a semi-tablature showing the open string pitches and fret numbers for the harmonics.
I provide a third - pure tablature. Understand my intent is not to propose this as the way harmonics should be notated. See my page on harmonics notation. In this case, though, tablature is surely the easiest way to read the piece. So here is the Andante in a neat, modern, graphic tablature:
And here it is in my good, ol' ASCII tablature. For this, I've doubled the rhythm values, turning 2/4 into 4/4. It isn't clear what Aguado intended in measure 22 (counting partial measures). Other errors have been fixed without comment. He had a rough time with 3's and 5's.
Andante
6 = D. (All natural harmonics.) D. Aguado
____ ____
| | | | | | | | | | | | | | | | | | | | | | |.-| | |.-|
__________________________________________________________________
___|________|________|___12____|12_______|________|______________|
___|_______7|_7______|_7______7|_________|_______7|_7______7____7|
m1 ___|_______7|_____5__|_7_______|_________|_______7|___3__________|
___|_5___5__|_3_____7|____7_5__|___7____7|_5___5__|_3____3___3___|
__5|___5____|_____3__|_________|_9___12__|___5____|______________|
___|_4___4__|________|______4_5|_________|_4___4__|______________|
| | | | | | | | | | | | | | | | | | | | | | | |
__________________________________________________________________
_____12___|________||___|_________|12________|_________|_________|
___7______|________||___|_____7___|__________|_7_______|_7_______|
m8 _____12___|_______*||*__|_5___7___|__________|_____5___|_7_______|
_5_7______|_5_____*||*_7|___7___7_|___7____7_|_3_7___7_|___7____7|
_____12_9_|___5____||___|_3_______|_9___12___|_____3___|_____12__|
_4________|_4___12_||___|_________|__________|_________|_________|
___ _______ _______
| | | | | | | | | | | | | | | | | | | | | | | | | | | | |
__________________________________________________________________
________|_____12__|______________|____________|________|_______12|
_5___7__|_________|_7_5__________|____________|_______7|_7_______|
m15 _5______|_5_______|_7_____5______|____________|_______7|_____5___|
___7_3_7|___7____7|_____3___4___5|___3_______7|_5___5__|_3______7|
________|_3____9__|___________3__|_4___3_4_5__|___5____|_____3___|
________|_________|______________|____________|_4___4__|_________|
| | | | | | | | | | | | | | | | | | | | | | |
_________________________________________________________________
___12____|12___12__|________|________|_12________|_12_______||___
_7______7|_________|_______7|_7___7__|_12________|__________||___
m21 _7______7|_________|_______7|_____7__|_12_5____12|_12______*||___
____7_5__|___7__7_7|_5___5__|_3_____5|___________|____12_5_*||___
_________|_9____9__|___5____|_______5|______12__9|__________||___
______4__|_________|_4___4__|___5___4|___________|_12____4__||___
A typical use for this index would be to track down a given piece by Aguado in the Chanterelle edition of his complete works. Zero in first on the key, then the time signature, then the opening notes. Here are the conventions used in the index.
Note names: c1 = C below treble clef = middle C. c2 = C within treble clef. c3 = C above treble clef. a0 = A below c1.
The number attached to the note name changes on each C. Thus, the notes from the guitar's low E are: e0 f0 g0 a0 b0 c1 d1 e1 . . .
The fewest number of opening notes are provided to differentiate a given piece from all others with the same key and time signature. A chord is indicated by its notes packed together without spaces. Accidentals are not shown. An asterisk (*) means the pieces are the same, although there is a difference in the opening notes. For theme and variations, or where there is an introduction section, the theme is indexed here. Harmonic notes are indicated by "har". The notated (not sounding) harmonic note is used. Time signature slashes are omitted. Thus, 24 = 2/4; 128 = 12/8; etc.
The Complete Aguado - Chanterelle
Index
by
Key, Time Signature, and Opening Notes
Key Time sig. Opening notes Location in complete works (vol/page)
--- --------- ------------- -------------------------------------
A 24 a0a1c2. 2/087
A 24 a0a2. 1/064 2/127
A 24 a0c1e1a1. 1/071 2/136
A 24 a0c2 a1. 1/057
A 24 a0c2 e2. 1/062
A 24 a2. 3/164
A 24 e2 c2e2. 3/054 3/061
A 24 e2 f2. 3/122
A 34 a0. 3/140 4/048
A 34 a0a1c2. 1/060
A 34 a0a1c2e2. 4/016 (theme)
A 34 a0c1a1. 3/054 3/061
A 34 a0c2a2. 3/053 3/060
A 34 a0e2. 2/071
A 34 a1. 2/062
A 34 g2. 2/053
A 38 a0. 4/060 4/101
A 38 a0 a1. 4/102
A 38 a0 har. 4/168
A 38 a0a1. 3/008 4/010 4/062
A 38 a0a1c2c3. 4/061 4/102
A 38 a0e2. 2/049 4/145
A 38 a0e2 a1c2 a1c2. 4/093
A 38 a0e2 a1c2 a1c2a2. 4/142-3 4/143
A 38 a0e2 a1c2 d2. 2/050 4/146
A 38 a0e2 c2 a1 a2. 4/167
A 38 a0e2 c2 a1 c2. 4/144
A 38 a1. 4/077
A 38 a1c2. 4/163
A 38 a1c2e2 d2. 4/092
A 38 a1c2e2 f2. 4/097
A 38 a2. 3/089
A 38 b2 a2 g2 a2 c3. 2/054 4/158
A 38 b2 a2 g2 a2 e2. 2/052 4/156
A 38 c2 d2 a0e2 a1c2 a1c2a2. 2/051 4/147
A 38 c2 d2 a0e2 a1c2 a2. 4/058 4/093*
A 38 c2 d2 c2. 2/057 4/162
A 38 c2 d2 e2. 3/035 3/043 4/070
A 38 c2 d2 e2 a0. 4/093 4/058*
A 38 c2 d2 e2 c2. 4/159
A 38 c2e2. 4/089
A 38 d2. 4/097
A 38 e2 a1c2. 4/074 4/100
A 38 e2 a2 b1d2a2. 3/053 3/060 4/065
A 38 e2 a2 c3. 3/165 4/074 4/104
A 38 g0. 3/141 4/049
A 38 g1. 2/058 4/164
A 38 g2 a2 e2. 4/157
A 38 g2 a2 g2 a2 g2 a2 a0e2 a1c2 a1c2 c3. 2/051 4/148
A 38 g2 a2 g2 a2 g2 a2 a0e2 a1c2 a1c2 g2. 4/149
A 68 a0c2c3. 2/134
A 68 a1. 1/128 2/084
A 68 a2. 3/090
A 68 d2. 3/101
A 68 e2. 3/147
A C a0 a1 c2 a1. 2/130
A C a0 a1 c2 e2 c2 a1 c1. 1/069
A C a0 a1 c2 e2 c2 a1 e2. 1/067 2/126
A C a0 b0. 2/139 4/132
A C a0a1 c1. 1/059
A C a0a1 c2. 1/052
A C a0a1c2. 1/058 2/131
A C a0a1e2. 2/137
A C a0c1a1. 1/143 2/132
A C a1. 1/147
A C e2. 1/064 2/128
Am 24 a0a1. 2/089 1/057
Am 24 a0a1c2. 1/128 2/086
Am 24 a1 c2 e2 a0. 4/126
Am 24 a1 c2 e2 a1. 1/126 2/083
Am 24 a1 c2 e2 c2. 2/046
Am 24 a1c2. 2/035
Am 24 e1. 3/020
Am 24 e2. 3/162
Am 34 a0 c2. 1/142 2/124
Am 34 a0 c2f2. 1/142 2/133
Am 34 a0a1 c1c2. 3/067 3/148 4/039
Am 34 a0a1 c1e2. 3/169 (theme)
Am 34 a0a1 g0g1. 1/053
Am 34 a0c2a2. 3/133 4/046
Am 34 a1. 1/103
Am 34 a2. 1/121 3/071 4/043 4/170
Am 38 a0. 3/068 3/149 4/040
Am 38 a0a1c2. 3/072 4/044 4/171
Am 38 a0e2. 3/034 3/042 4/069
Am 38 a0e2 a1c2f2. 4/059 4/094
Am 38 a1 c2. 4/125
Am 38 a1 e2. 4/125
Am 38 a1c2. 1/119
Am 38 a2. 3/037 3/045 4/071
Am 38 a2 b2 a2. 4/020
Am 38 a2 b2 c3. 4/066 4/092
Am 38 b1. 3/093
Am 38 c2. 3/133 4/048
Am 38 c3. 4/020
Am 38 e1. 3/009 4/011 4/061
Am 38 e2. 3/008 4/010
Am 38 e2 f2 d2. 4/058 4/091
Am 38 e2 f2 e2. 4/091
Am 38 g2. 3/094
Am 68 a0. 3/106
Am 68 a2. 3/102
Am 68 e2 c3. 3/087
Am 68 e2 d2. 3/092
Am C a0 a1. 2/129
Am C a0 c2 e2 c2 a1 c2 e2 c2 b1. 2/086
Am C a0 c2 e2 c2 a1 c2 e2 c2 e1. 2/088
Am C a0a1. 1/056
Am C a0c1. 1/063
Am C a1c2e2. 2/181
Am C a2. 3/019
B 38 b1d2f2. 3/011 4/014 4/078
C 24 a1a2. 1/116
C 24 c1c2e2 c1. 2/085 3/117
C 24 c1c2e2 g1. 1/058
C 24 c1e1. 3/113
C 24 c1e1c2. 4/024 (theme)
C 24 c1e1g1. 3/125
C 24 c1e1g1c2 d2. 1/073 2/135
C 24 c1e1g1c2 e2. 1/054
C 24 c2 c1e1g1. 1/055
C 24 c2 c2. 1/139 2/123
C 24 e2. 2/035
C 34 c1g2. 1/052 3/051 3/058
C 38 c1 c2. 2/039 4/150
C 38 c1 e1. 2/040 4/150
C 38 c1c2 d2. 3/033 3/042 4/069
C 38 c1c2 g1. 4/151 2/040*
C 38 c1c2e2. 2/085 3/116
C 38 c1e1c2 b1. 1/129
C 38 c1e1c2 d2. 3/039 3/046 4/079
C 38 c1e1c2 g1. 2/040 4/151*
C 38 c1e1g1. 3/008 4/010 4/062
C 38 c1e2. 2/041 4/151
C 38 c3. 3/010 4/012 4/073
C 38 g1. 3/051 3/058 4/064
C 68 c1e1c2. 3/097
C 68 c2. 2/070
C 68 e2g2. 3/105
C C c1. 1/049 2/088
C C c1c2. 1/070
C C c1e1. 3/114
C C c1e2. 1/061
C C c1g1. 1/055 2/091
C C c2e2. 1/130
C C e1g1. 1/071
Cm 24 g0. 1/070
D 128 d1. 1/074
D 24 a0. 1/062 2/072
D 24 a1 har. 2/082
D 24 d1 d2. 1/125 2/083
D 24 d1 f1. 3/121
D 24 d1 har. 3/126
D 24 d1d2. 1/051
D 24 d1f1. 3/123
D 24 d1f1d2 a2. 1/129
D 24 d1f1d2 d2. 1/149
D 24 d1f1d2 f1d2. 4/032 (theme)
D 24 d2. 1/122
D 24 d2d3. 3/124
D 24 g2. 3/129
D 34 c3. 3/068 3/150 4/040
D 34 d0. 2/076
D 34 d1. 1/125
D 34 d1f1. 3/134 4/054
D 34 d1f2a2 b2 a2 d2f2. 1/109
D 34 d1f2a2 b2 a2 g2. 3/026
D 34 d1f2a2 f2d3. 1/115
D 34 e2g2. 3/070 3/152 4/042
D 34 g2 a2 b2 a2 d1 d2f2. 1/114
D 34 g2 a2 b2 a2 d1 f2d3. 3/157
D 34 g2 a2 b2 a2 g2. 3/138 4/050
D 38 a0. 4/020
D 38 a1. 3/009 4/012 4/072
D 38 a2 d3. 4/103
D 38 a2 g2. 4/058 4/090
D 38 b2 a2 g2 a2 b2. 4/066 4/099
D 38 b2 a2 g2 a2 d3 d2 d1 e1. 3/069 3/151 4/041
D 38 b2 a2 g2 a2 d3 d2 d1 f1. 3/080
D 38 b2 a2 g2 a2 f2. 4/161
D 38 d0f2a2. 3/081
D 38 d1. 3/083
D 38 d1a2. 4/089
D 38 d1d2. 4/087
D 38 d1d2f2. 2/075
D 38 d1f2a2 b2 a2 e2g2 a2. 1/136
D 38 d1f2a2 b2 a2 e2g2 f2a2. 3/084
D 38 d1f2a2 d2. 4/096
D 38 d2. 4/155
D 38 d2f2. 1/135
D 38 d2f2a2. 4/059 4/098 (key shown as A)
D 38 d3. 1/137
D 38 f1a1. 3/071 4/043
D 38 f2 a2. 3/153 4/067 4/103
D 38 f2 g2 f2 e2 f2 a0a2. 4/081
D 38 f2 g2 f2 e2 f2 a2. 3/078
D 38 f2 g2 g2. 3/082
D 38 f2a2. 3/088
D 38 g1. 3/139 4/051
D 38 g2 a2 b2. 3/135 4/056*
D 38 g2 a2 d1d3. 4/078
D 38 g2 d0a2. 4/056 3/135*
D 68 d1. 1/145 2/139
D 68 f1a1. 3/145
D C d1. 2/181
D C d1f1. 1/138
D C d2. 1/136
D cut d0d1. 4/111 (Sor solo)
Dm 34 d0d2f2d3. 3/052 3/059
Dm 34 d2. 2/060
Dm 34 f1a2. 3/181 (theme)
Dm 38 d0d1f1. 3/038 3/046 4/071
Dm 38 d0f1d2. 3/052 3/059 4/065
Dm 68 d1f2a2. 3/098
Dm 68 g1g2. 3/104
Dm C d1d2. 3/025
E 24 b1. 4/014
E 24 e1e2. 2/061
E 24 e1g1b1e2. 2/141
E 24 e2. 3/130
E 34 b1. 3/016
E 34 e0g1e2. 2/056
E 38 a2. 2/057
E 38 b1 e2. 3/040 3/047 4/080
E 38 b1 g2. 4/060 4/098
E 38 b2 e3. 4/021
E 38 b2 g2. 3/079
E 38 e1g1g2. 4/101 (key shown as A)
E 38 e2. 4/096
E 38 g1e2. 1/118
E 38 g2. 4/095
E 68 e0. 3/103
E C e0 e1. 1/068
E C e0 g1. 1/050 2/089
Em 128 e0. 1/140 2/123
Em 24 b2. 3/163
Em 24 e0e1g2. 1/058
Em 24 g2 a2 b2. 1/144 2/133
Em 24 g2 a2 e0g1b2. 3/158
Em 34 e1g1e2. 3/142 4/044
Em 34 e2. 2/055 (time was 38)
Em 38 a2. 3/077
Em 38 b1 b1 b1. 4/059 4/094
Em 38 b1 b1 e0b1. 3/010 4/012 4/064
Em 38 b1 e1g1b1. 3/009 4/011 4/063
Em 38 b1 e2. 3/036 3/044 4/068
Em 38 b1 g2. 4/057 4/086
Em 38 b2 c3. 4/057 4/087
Em 38 b2 g2. 4/057 4/088
Em 38 d2. 4/076
Em 38 e0. 1/126 2/086
Em 38 e0e2. 4/095
Em 38 e0g1e2 g0. 4/060 4/100
Em 38 e0g1e2 g2. 4/060 4/099
Em 38 e1. 4/088
Em 38 e1g1e2. 2/059 4/165
Em 38 e2 f2 g2 f2 e2 e1g1e2. 3/142 4/046
Em 38 e2 f2 g2 f2 e2 e2. 4/076 (2nd note was g2)
Em 38 g1g2. 4/061 4/104
Em 38 g2. 4/160
Em 68 b1. 3/015
Em 68 b2. 3/091
Em 68 d2. 3/146
Em 68 e0g1b1. 3/115
Em 68 e1g1e2. 3/099
Em C b0. 2/118 3/110(2x) 4/128
Em C b1. 1/068 2/131
Em C e0 b1. 1/141 2/125
Em C e0 e1. 1/060
Em C e0 g1 b1 e2. 1/050 2/090
Em C e0 g1 b1 g1. 1/066
Em C g1. 1/099
F 34 f0 a0. 3/111 (theme)
F 34 f0 f0. 3/113
F C f0 a1. 1/053
F C f0 f1. 1/051 2/090
Fm 24 c2. 2/118
G 128 g0. 2/126
G 128 g1. 1/140 2/123
G 24 b1. 3/159
G 24 b1d2 d2. 1/106
G 24 b1d2 e2. 1/110
G 24 b2. 3/128
G 24 d2 g1b1b2. 1/xxviii 4/022
G 24 d2 g1b1g2. 1/072 2/137
G 24 g0. 1/053
G 24 g1. 1/127 2/045
G 24 g1b1b2. 3/127
G 24 g1b1g2. 1/125 2/087
G 34 b1d2. 1/106
G 34 f2. 3/160
G 34 g0. 2/181
G 34 g0b0g1. 1/065
G 34 g0b1. 1/062 2/138
G 34 g1. 1/101 2/036 4/124
G 34 g1b1. 2/062
G 34 g1b1d2 b2. 3/055 3/062
G 34 g1b1d2 d1. 3/136 4/052*
G 34 g1b1g2. 4/052 3/136*
G 38 b1. 2/041 4/152
G 38 b2. 3/055 3/062
G 38 c2. 3/011 4/013 4/073
G 38 d1. 4/019
G 38 d2 e2. 3/161 4/105
G 38 d2 g1b1b2. 3/056 3/063 4/083
G 38 e2. 4/067
G 38 f0. 2/084 3/116
G 38 g0 f0. 4/057 (key shown as D) 4/090
G 38 g0 g0. 4/019
G 38 g0b0. 4/075
G 38 g0b1. 2/042 4/152
G 38 g1. 1/127 2/048
G 38 g1b1 a1c2. 3/009 4/011 4/063
G 38 g1b1 b2. 2/045 4/153
G 38 g1b1g2 a2. 1/112
G 38 g1b1g2 b2. 3/136 4/053
G 38 g1b1g2 d2. 4/154
G 38 g2 a2. 2/055
G 38 g2 b2. 3/162
G 68 d2. 3/100
G 68 f0. 2/084 3/116
G 68 g1. 3/109
G C b1. 1/139 (key shown as D) 2/122
G C d1. 3/114
G C g0 a0. 4/123
G C g0 b0 d1 g1 b0. 1/050
G C g0 b0 d1 g1 f1. 2/049 3/109 4/127
G C g0b0. 3/114
G C g0g1b1 a0. 1/065
G C g0g1b1 g1b1 g1b1 f0g1b1. 1/128 (see 2/085 3/117)
G C g0g1b1 g1b1 g1b1 g1b1. 2/085 3/117 (see 1/128)
G C g0g2. 1/066 2/128
G C g1. 2/070
Gm 38 d2. 3/010 4/013 4/068
Gm C g1. 1/111
? 68 g1. 2/073
Electrons are cheap, so here's a table of contents, too. It's handy for tracking down alternate versions, if any, of pieces in the four volumes. The conventions used are the same as in the index above.
The Complete Aguado - Chanterelle
Table of Contents
and
Cross Reference
Vol/
Page Key Time sig. Opening notes Other appearances of piece.
------ --- --------- ------------- ---------------------------
1/xxviii G 24 d2 g1b1b2. 4/022
1/049 C C c1. 2/088
1/050 G C g0 b0 d1 g1 b0. -
1/050 E C e0 g1. 2/089
1/050 Em C e0 g1 b1 e2. 2/090
1/051 F C f0 f1. 2/090
1/051 D 24 d1d2. -
1/052 A C a0a1 c2. -
1/052 C 34 c1g2. 3/051 3/058
1/053 G 24 g0. -
1/053 Am 34 a0a1 g0g1. -
1/053 F C f0 a1. -
1/054 C 24 c1e1g1c2 e2. -
1/055 C 24 c2 c1e1g1. -
1/055 C C c1g1. 2/091
1/056 Am C a0a1. -
1/057 Am 24 a0a1. 2/089
1/057 A 24 a0c2 a1. -
1/058 C 24 c1c2e2 g1. -
1/058 Em 24 e0e1g2. -
1/058 A C a0a1c2. 2/131
1/059 A C a0a1 c1. -
1/060 A 34 a0a1c2. -
1/060 Em C e0 e1. -
1/061 C C c1e2. -
1/062 G 34 g0b1. 2/138
1/062 D 24 a0. 2/072
1/062 A 24 a0c2 e2. -
1/063 Am C a0c1. -
1/064 A 24 a0a2. 2/127
1/064 A C e2. 2/128
1/065 G 34 g0b0g1. -
1/065 G C g0g1b1 a0. -
1/066 Em C e0 g1 b1 g1. -
1/066 G C g0g2. 2/128
1/067 A C a0 a1 c2 e2 c2 a1 e2. 2/126
1/068 E C e0 e1. -
1/068 Em C b1. 2/131
1/069 A C a0 a1 c2 e2 c2 a1 c1. -
1/070 C C c1c2. -
1/070 Cm 24 g0. -
1/071 C C e1g1. -
1/071 A 24 a0c1e1a1. 2/136
1/072 G 24 d2 g1b1g2. 2/137
1/073 C 24 c1e1g1c2 d2. 2/135
1/074 D 128 d1. -
1/099 Em C g1. -
1/101 G 34 g1. 2/036 4/124
1/103 Am 34 a1. -
1/106 G 34 b1d2. -
1/106 G 24 b1d2 d2. -
1/109 D 34 d1f2a2 b2 a2 d2f2. -
1/110 G 24 b1d2 e2. -
1/111 Gm C g1. -
1/112 G 38 g1b1g2 a2. -
1/114 D 34 g2 a2 b2 a2 d1 d2f2. -
1/115 D 34 d1f2a2 f2d3. -
1/116 C 24 a1a2. -
1/118 E 38 g1e2. -
1/119 Am 38 a1c2. -
1/121 Am 34 a2. 3/071 4/043 4/170
1/122 D 24 d2. -
1/125 D 34 d1. -
1/125 D 24 d1 d2. 2/083
1/125 G 24 g1b1g2. 2/087
1/126 Em 38 e0. 2/086
1/126 Am 24 a1 c2 e2 a1. 2/083
1/127 G 24 g1. 2/045
1/127 G 38 g1. 2/048
1/128 A 68 a1. 2/084
1/128 Am 24 a0a1c2. 2/086
1/128 G C g0g1b1 g1b1 g1b1 f0g1b1. (2/085 3/117)
1/129 D 24 d1f1d2 a2. -
1/129 C 38 c1e1c2 b1. -
1/130 C C c2e2. -
1/135 D 38 d2f2. -
1/136 D 38 d1f2a2 b2 a2 e2g2 a2. -
1/136 D C d2. -
1/137 D 38 d3. -
1/138 D C d1f1. -
1/139 C 24 c2 c2. 2/123
1/139 G C b1. (key shown as D) 2/122
1/140 Em 128 e0. 2/123
1/140 G 128 g1. 2/123
1/141 Em C e0 b1. 2/125
1/142 Am 34 a0 c2f2. 2/133
1/142 Am 34 a0 c2. 2/124
1/143 A C a0c1a1. 2/132
1/144 Em 24 g2 a2 b2. 2/133
1/145 D 68 d1. 2/139
1/147 A C a1. -
1/149 D 24 d1f1d2 d2. -
2/035 C 24 e2. -
2/035 Am 24 a1c2. -
2/036 G 34 g1. 1/101 4/124
2/039 C 38 c1 c2. 4/150
2/040 C 38 c1 e1. 4/150
2/040 C 38 c1e1c2 g1. 4/151*
2/041 C 38 c1e2. 4/151
2/041 G 38 b1. 4/152
2/042 G 38 g0b1. 4/152
2/045 G 38 g1b1 b2. 4/153
2/045 G 24 g1. 1/127
2/046 Am 24 a1 c2 e2 c2. -
2/048 G 38 g1. 1/127
2/049 G C g0 b0 d1 g1 f1. 3/109 4/127
2/049 A 38 a0e2. 4/145
2/050 A 38 a0e2 a1c2 d2. 4/146
2/051 A 38 c2 d2 a0e2 a1e2 a1c2a2. 4/147
2/051 A 38 g2 a2 g2 a2 g2 a2 a0e2 a1c2 a1c2 c3. 4/148
2/052 A 38 b2 a2 g2 a2 e2. 4/156
2/053 A 34 g2. -
2/054 A 38 b2 a2 g2 a2 c3. 4/158
2/055 Em 34 e2. - time was 38
2/055 G 38 g2 a2. -
2/056 E 34 e0g1e2. -
2/057 E 38 a2. -
2/057 A 38 c2 d2 c2. 4/162
2/058 A 38 g1. 4/164
2/059 Em 38 e1g1e2. 4/165
2/060 Dm 34 d2. -
2/061 E 24 e1e2. -
2/062 G 34 g1b1. -
2/062 A 34 a1. -
2/070 G C g1. -
2/070 C 68 c2. -
2/071 A 34 a0e2. -
2/072 D 24 a0. 1/062
2/073 ? 68 g1. -
2/075 D 38 d1d2f2. -
2/076 D 34 d0. -
2/082 D 24 a1 har. -
2/083 D 24 d1 d2. 1/125
2/083 Am 24 a1 c2 e2 a1. 1/126
2/084 A 68 a1. 1/128
2/084 G 68 f0. 3/116
2/084 G 38 f0. 3/116
2/085 C 38 c1c2e2. 3/116
2/085 C 24 c1c2e2 c1. 3/117
2/085 G C g0g1b1 g1b1 g1b1 g1b1. (1/128) 3/117
2/086 Em 38 e0. 1/126
2/086 Am C a0 c2 e2 c2 a1 c2 e2 c2 b1. -
2/086 Am 24 a0a1c2. 1/128
2/087 A 24 a0a1c2. -
2/087 G 24 g1b1g2. 1/125
2/088 Am C a0 c2 e2 c2 a1 c2 e2 c2 e1. -
2/088 C C c1. 1/049
2/089 E C e0 g1. 1/050
2/089 Am 24 a0a1. 1/057
2/090 F C f0 f1. 1/051
2/090 Em C e0 g1 b1 e2. 1/050
2/091 C C c1g1. 1/055
2/092... short egerises
2/118 Em C b0. 3/110a 3/110b 4/128
2/118 Fm 24 c2. -
2/119... preludios
2/122 G C b1. 1/139
2/123 C 24 c2 c2. 1/139
2/123 G 128 g1. 1/140
2/123 Em 128 e0. 1/140
2/124 Am 34 a0 c2. 1/142
2/125 Em C e0 b1. 1/141
2/126 A C a0 a1 c2 e2 c2 a1 e2. 1/067
2/126 G 128 g0. -
2/127 A 24 a0a2. 1/064
2/128 A C e2. 1/064
2/128 G C g0g2. 1/066
2/129 Am C a0 a1. -
2/130 A C a0 a1 c2 a1. -
2/131 Em C b1. 1/068
2/131 A C a0a1c2. 1/058
2/132 A C a0c1a1. 1/143
2/133 Em 24 g2 a2 b2. 1/144
2/133 Am 34 a0 c2f2. 1/142
2/134 A 68 a0c2c3. -
2/135 C 24 c1e1g1c2 d2. 1/073
2/136 A 24 a0c1e1a1. 1/071
2/137 G 24 d2 g1b1g2. 1/072
2/137 A C a0a1e2. -
2/138 G 34 g0b1. 1/062
2/139 D 68 d1. 1/145
2/139 A C a0 b0. 4/132
2/141 E 24 e1g1b1e2. -
2/181 G 34 g0. -
2/181 D C d1. -
2/181 Am C a1c2e2. -
3/008 A 38 a0a1. 4/010 4/062
3/008 C 38 c1e1g1. 4/010 4/062
3/008 Am 38 e2. 4/010
3/009 G 38 g1b1 a1c2. 4/011 4/063
3/009 Am 38 e1. 4/011 4/061
3/009 Em 38 b1 e1g1b1. 4/011 4/063
3/009 D 38 a1. 4/012 4/072
3/010 C 38 c3. 4/012 4/073
3/010 Em 38 b1 b1 e0b1. 4/012 4/064
3/010 Gm 38 d2. 4/013 4/068
3/011 G 38 c2. 4/013 4/073
3/011 B 38 b1d2f2. 4/014 4/078
3/015 Em 68 b1. -
3/016 E 34 b1. -
3/019 Am C a2. -
3/020 Am 24 e1. -
3/025 Dm C d1d2. -
3/026 D 34 d1f2a2 b2 a2 g2. -
3/033 C 38 c1c2 d2. 3/042 4/069 op 3
3/034 Am 38 a0e2. 3/042 4/069
3/035 A 38 c2 d2 e2. 3/043 4/070
3/036 Em 38 b1 e2. 3/044 4/068
3/037 Am 38 a2. 3/045 4/071
3/038 Dm 38 d0d1f1. 3/046 4/071
3/039 C 38 c1e1c2 d2. 3/046 4/079
3/040 E 38 b1 e2. 3/047 4/080
3/042 C 38 c1c2 d2. 3/033 4/069 op 3
3/042 Am 38 a0e2. 3/034 4/069
3/043 A 38 c2 d2 e2. 3/035 4/070
3/044 Em 38 b1 e2. 3/036 4/068
3/045 Am 38 a2. 3/037 4/071
3/046 Dm 38 d0d1f1. 3/038 4/071
3/046 C 38 c1e1c2 d2. 3/039 4/079
3/047 E 38 b1 e2. 3/040 4/080
3/051 C 34 c1g2. 1/052 3/058 op 4
3/051 C 38 g1. 3/058 4/064
3/052 Dm 34 d0d2f2d3. 3/059
3/052 Dm 38 d0f1d2. 3/059 4/065
3/053 A 34 a0c2a2. 3/060
3/053 A 38 e2 a2 b1d2a2. 3/060 4/065
3/054 A 34 a0c1a1. 3/061
3/054 A 24 e2 c2e2. 3/061
3/055 G 34 g1b1d2 b2. 3/062
3/055 G 38 b2. 3/062
3/056 G 38 d2 g1b1b2. 3/063 4/083
3/058 C 34 c1g2. 1/052 3/051 op 4
3/058 C 38 g1. 3/051 4/064
3/059 Dm 34 d0d2f2d3. 3/052
3/059 Dm 38 d0f1d2. 3/052 4/065
3/060 A 34 a0c2a2. 3/053
3/060 A 38 e2 a2 b1d2a2. 3/053 4/065
3/061 A 34 a0c1a1. 3/054
3/061 A 24 e2 c2e2. 3/054
3/062 G 34 g1b1d2 b2. 3/055
3/062 G 38 b2. 3/055
3/063 G 38 d2 g1b1b2. 3/056 4/083
3/067 Am 34 a0a1 c1c2. 3/148 4/039
3/068 Am 38 a0. 3/149 4/040
3/068 D 34 c3. 3/150 4/040
3/069 D 38 b2 a2 g2 a2 d3 d2 d1 e1. 3/151 4/041
3/070 D 34 e2g2. 3/152 4/042
3/071 D 38 f1a1. 4/043
3/071 Am 34 a2. 1/121 4/043 4/170
3/072 Am 38 a0a1c2. 4/044 4/171
3/077 Em 38 a2. -
3/078 D 38 f2 g2 f2 e2 f2 a2. -
3/079 E 38 b2 g2. -
3/080 D 38 b2 a2 g2 a2 d3 d2 d1 f1. -
3/081 D 38 d0f2a2. -
3/082 D 38 f2 g2 g2. -
3/083 D 38 d1. -
3/084 D 38 d1f2a2 b2 a2 e2g2 f2a2. -
3/087 Am 68 e2 c3. -
3/088 D 38 f2a2. -
3/089 A 38 a2. -
3/090 A 68 a2. -
3/091 Em 68 b2. -
3/092 Am 68 e2 d2. -
3/093 Am 38 b1. -
3/094 Am 38 g2. -
3/097 C 68 c1e1c2. -
3/098 Dm 68 d1f2a2. -
3/099 Em 68 e1g1e2. -
3/100 G 68 d2. -
3/101 A 68 d2. -
3/102 Am 68 a2. -
3/103 E 68 e0. -
3/104 Dm 68 g1g2. -
3/105 C 68 e2g2. -
3/106 Am 68 a0. -
3/109 G C g0 b0 d1 g1 f1. 2/049 4/127
3/109 G 68 g1. -
3/110 Em C b0. 2/118 3/110b 4/128
3/110 Em C b0. 2/118 3/110a 4/128
3/111 F 34 f0 a0. - (theme)
3/113 F 34 f0 f0. -
3/113 C 24 c1e1. -
3/114 C C c1e1. -
3/114 G C g0b0. -
3/114 G C d1. -
3/115 Em 68 e0g1b1. -
3/116 G 68 f0. 2/084
3/116 G 38 f0. 2/084
3/116 C 38 c1c2e2. 2/085
3/117 C 24 c1c2e2 c1. 2/085
3/117 G C g0g1b1 g1b1 g1b1 g1b1. (1/128) 2/085
3/121 D 24 d1 f1. -
3/122 A 24 e2 f2. -
3/123 D 24 d1f1. -
3/124 D 24 d2d3. -
3/125 C 24 c1e1g1. -
3/126 D 24 d1 har. -
3/127 G 24 g1b1b2. -
3/128 G 24 b2. -
3/129 D 24 g2. -
3/130 E 24 e2. -
3/133 Am 34 a0c2a2. 4/046
3/133 Am 38 c2. 4/048
3/134 D 34 d1f1. 4/054
3/135 D 38 g2 a2 b2. 4/056*
3/136 G 34 g1b1d2 d1. 4/052*
3/136 G 38 g1b1g2 b2. 4/053
3/138 D 34 g2 a2 b2 a2 g2. 4/050
3/139 D 38 g1. 4/051
3/140 A 34 a0. 4/048
3/141 A 38 g0. 4/049
3/142 Em 34 e1g1e2. 4/044
3/142 Em 38 e2 f2 g2 f2 e2 e1g1e2. 4/046
3/145 D 68 f1a1. -
3/146 Em 68 d2. -
3/147 A 68 e2. -
3/148 Am 34 a0a1 c1c2. 3/067 4/039
3/149 Am 38 a0. 3/068 4/040
3/150 D 34 c3. 3/068 4/040
3/151 D 38 b2 a2 g2 a2 d3 d2 d1 e1. 3/069 4/041
3/152 D 34 e2g2. 3/070 4/042
3/153 D 38 f2 a2. 4/067 4/103
3/157 D 34 g2 a2 b2 a2 d1 f2d3. -
3/158 Em 24 g2 a2 e0g1b2. -
3/159 G 24 b1. -
3/160 G 34 f2. -
3/161 G 38 d2 e2. 4/105
3/162 G 38 g2 b2. -
3/162 Am 24 e2. -
3/163 Em 24 b2. -
3/164 A 24 a2. -
3/165 A 38 e2 a2 c3. 4/074 4/104
3/169 Am 34 a0a1 c1e2. - (theme)
3/181 Dm 34 f1a2. - (theme)
4/010 A 38 a0a1. 3/008 4/062
4/010 C 38 c1e1g1. 3/008 4/062
4/010 Am 38 e2. 3/008
4/011 G 38 g1b1 a1c2. 3/009 4/063
4/011 Am 38 e1. 3/009 4/061
4/011 Em 38 b1 e1g1b1. 3/009 4/063
4/012 D 38 a1. 3/009 4/072
4/012 C 38 c3. 3/010 4/073
4/012 Em 38 b1 b1 e0b1. 3/010 4/064
4/013 Gm 38 d2. 3/010 4/068
4/013 G 38 c2. 3/011 4/073
4/014 B 38 b1d2f2. 3/011 4/078
4/014 E 24 b1. -
4/016 A 34 a0a1c2e2. - (theme)
4/019 G 38 d1. -
4/019 G 38 g0 g0. -
4/020 Am 38 a2 b2 a2. -
4/020 Am 38 c3. -
4/020 D 38 a0. -
4/021 E 38 b2 e3. -
4/022 G 24 d2 g1b1b2. 1/xxviii
4/024 C 24 c1e1c2. - (theme)
4/032 D 24 d1f1d2 f1d2. - (theme)
4/039 Am 34 a0a1 c1c2. 3/067 3/148
4/040 Am 38 a0. 3/068 3/149
4/040 D 34 c3. 3/068 3/150
4/041 D 38 b2 a2 g2 a2 d3 d2 d1 e1. 3/069 3/151
4/042 D 34 e2g2. 3/070 3/152
4/043 D 38 f1a1. 3/071
4/043 Am 34 a2. 1/121 3/071 4/170
4/044 Am 38 a0a1c2. 3/072 4/171
4/044 Em 34 e1g1e2. 3/142
4/046 Em 38 e2 f2 g2 f2 e2 e1g1e2. 3/142
4/046 Am 34 a0c2a2. 3/133
4/048 Am 38 c2. 3/133
4/048 A 34 a0. 3/140
4/049 A 38 g0. 3/141
4/050 D 34 g2 a2 b2 a2 g2. 3/138
4/051 D 38 g1. 3/139
4/052 G 34 g1b1g2. 3/136*
4/053 G 38 g1b1g2 b2. 3/136
4/054 D 34 d1f1. 3/134
4/056 D 38 g2 d0a2. 3/135*
4/057 Em 38 b1 g2. 4/086
4/057 Em 38 b2 c3. 4/087
4/057 Em 38 b2 g2. 4/088
4/057 G 38 g0 f0. (key shown as D) 4/090
4/058 D 38 a2 g2. 4/090
4/058 Am 38 e2 f2 d2. 4/091
4/058 A 38 c2 d2 a0e2 a1c2 a2. 4/093*
4/059 Am 38 a0e2 a1c2f2. 4/094
4/059 Em 38 b1 b1 b1. 4/094
4/059 D 38 d2f2a2. 4/098
4/060 E 38 b1 g2. 4/098
4/060 Em 38 e0g1e2 g2. 4/099
4/060 Em 38 e0g1e2 g0. 4/100
4/060 A 38 a0. 4/101
4/061 A 38 a0a1c2c3. 4/102
4/061 Em 38 g1g2. 4/104
4/061 Am 38 e1. 3/009 4/011
4/062 A 38 a0a1. 3/008 4/010
4/062 C 38 c1e1g1. 3/008 4/010
4/063 G 38 g1b1 a1c2. 3/009 4/011
4/063 Em 38 b1 e1g1b1. 3/009 4/011
4/064 Em 38 b1 b1 e0b1. 3/010 4/012
4/064 C 38 g1. 3/051 3/058
4/065 A 38 e2 a2 b1d2a2. 3/053 3/060
4/065 Dm 38 d0f1d2. 3/052 3/059
4/066 Am 38 a2 b2 c3. 4/092
4/066 D 38 b2 a2 g2 a2 b2. 4/099
4/067 D 38 f2 a2. 3/153 4/103
4/067 G 38 e2. -
4/068 Em 38 b1 e2. 3/036 3/044
4/068 Gm 38 d2. 3/010 4/013
4/069 C 38 c1c2 d2. 3/033 3/042
4/069 Am 38 a0e2. 3/034 3/042
4/070 A 38 c2 d2 e2. 3/035 3/043
4/071 Am 38 a2. 3/037 3/045
4/071 Dm 38 d0d1f1. 3/038 3/046
4/072 D 38 a1. 3/009 4/012
4/073 C 38 c3. 3/010 4/012
4/073 G 38 c2. 3/011 4/013
4/074 A 38 e2 a1c2. 4/100
4/074 A 38 e2 a2 c3. 3/165 4/104
4/075 G 38 g0b0. -
4/076 Em 38 d2. -
4/076 Em 38 e2 f2 g2 f2 e2 e2. - 2nd note was g2
4/077 A 38 a1. -
4/078 D 38 g2 a2 d1d3. -
4/078 B 38 b1d2f2. 3/011 4/014
4/079 C 38 c1e1c2 d2. 3/039 3/046
4/080 E 38 b1 e2. 3/040 3/047
4/081 D 38 f2 g2 f2 e2 f2 a0a2. -
4/083 G 38 d2 g1b1b2. 3/056 3/063
4/086 Em 38 b1 g2. 4/057
4/087 Em 38 b2 c3. 4/057
4/087 D 38 d1d2. -
4/088 Em 38 e1. -
4/088 Em 38 b2 g2. 4/057
4/089 A 38 c2e2. -
4/089 D 38 d1a2. -
4/090 G 38 g0 f0. 4/057
4/090 D 38 a2 g2. 4/058
4/091 Am 38 e2 f2 d2. 4/058
4/091 Am 38 e2 f2 e2. -
4/092 Am 38 a2 b2 c3. 4/066
4/092 A 38 a1c2e2 d2. -
4/093 A 38 a0e2 a1c2 a1c2. -
4/093 A 38 c2 d2 e2 a0. 4/058*
4/094 Am 38 a0e2 a1c2f2. 4/059
4/094 Em 38 b1 b1 b1. 4/059
4/095 E 38 g2. -
4/095 Em 38 e0e2. -
4/096 D 38 d1f2a2 d2. -
4/096 E 38 e2. -
4/097 A 38 d2. -
4/097 A 38 a1c2e2 f2. -
4/098 E 38 b1 g2. 4/060
4/098 D 38 d2f2a2. (key shown as A) 4/059
4/099 Em 38 e0g1e2 g2. 4/060
4/099 D 38 b2 a2 g2 a2 b2. 4/066
4/100 A 38 e2 a1c2. 4/074
4/100 Em 38 e0g1e2 g0. 4/060
4/101 E 38 e1g1g2. (key shown as A) -
4/101 A 38 a0. 4/060
4/102 A 38 a0 a1. -
4/102 A 38 a0a1c2c3. 4/061
4/103 D 38 a2 d3. -
4/103 D 38 f2 a2. 3/153 4/067
4/104 Em 38 g1g2. 4/061
4/104 A 38 e2 a2 c3. 3/165 4/074
4/105 G 38 d2 e2. 3/161
4/111 D cut d0d1. - Sor solo
4/123 G C g0 a0. -
4/124 G 34 g1. 1/101 2/036
4/125 Am 38 a1 e2. -
4/125 Am 38 a1 c2. -
4/126 Am 24 a1 c2 e2 a0. -
4/127 G C g0 b0 d1 g1 f1. 2/049 3/109
4/128 Em C b0. 2/118 3/110a 3/110b
4/132 A C a0 b0. 2/139
4/142 A 38 a0e2 a1c2 a1c2a2. 4/143
4/143 A 38 a0e2 a1c2 a1c2a2. 4/142-143
4/144 A 38 a0e2 c2 a1 c2. -
4/145 A 38 a0e2. 2/049
4/146 A 38 a0e2 a1c2 d2. 2/050
4/147 A 38 c2 d2 a0e2 a1e2 a1c2a2. 2/051
4/148 A 38 g2 a2 g2 a2 g2 a2 a0e2 a1c2 a1c2 c3. 2/051
4/149 A 38 g2 a2 g2 a2 g2 a2 a0e2 a1c2 a1c2 g2. -
4/150 C 38 c1 c2. 2/039
4/150 C 38 c1 e1. 2/040
4/151 C 38 c1c2 g1. 2/040*
4/151 C 38 c1e2. 2/041
4/152 G 38 b1. 2/041
4/152 G 38 g0b1. 2/042
4/153 G 38 g1b1 b2. 2/045
4/154 G 38 g1b1g2 d2. -
4/155 D 38 d2. -
4/156 A 38 b2 a2 g2 a2 e2. 2/052
4/157 A 38 g2 a2 e2. -
4/158 A 38 b2 a2 g2 a2 c3. 2/054
4/159 A 38 c2 d2 e2 c2. -
4/160 Em 38 g2. -
4/161 D 38 b2 a2 g2 a2 f2. -
4/162 A 38 c2 d2 c2. 2/057
4/163 A 38 a1c2. -
4/164 A 38 g1. 2/058
4/165 Em 38 e1g1e2. 2/059
4/167 A 38 a0e2 c2 a1 a2. -
4/168 A 38 a0 har. -
4/170 Am 34 a2. 1/121 3/071 4/043
4/171 Am 38 a0a1c2. 3/072 4/044
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