Avant-Garde Music

Ther term avant-garde is derived from the French military term which roughly translates to “vanguard”
or “advanced guard”, a unit which scouted ahead of the main army. This term was then used for the Left-
Wing reformists clamoring for political change in French society, and eventually an entire genre of art that
advocated for social change or challenging the norms and values of the current society.

Avant-garde in the context of music refers to music that is at the forefront of innovation. In my opinion,
the constant evolution of music since the 1940s means that avant-garde music does not stay at the
forefront for very long. A quote from Ohio State Arts and Humanities Distinguished Professor David Huron:

“Each new style builds a context that provides new opportunities for both thwarting and confirming
expectations. Musicians have the freedom to create new styles, but the listener’s penchant for
predictability restrains it. Musicians create musical culture, but not just as they please.”

Avant-Garde composers’ approaches

The constant innovation in avant-garde music means that each composer has a different approach and
intent.

György Ligeti (1923 - 2006) – this Hungarian-born Austrian was born in conservative, communist
Hungary. Restricted in his style, it was only when he moved out West that he broke through with his
own compositional style. He displayed a unique attention to the smallest detail, the structures always
maintaining a wonderful luminosity, however complex or intricate. He dubbed this technique
micropolyphony, which he used in his breakthrough composition Atmospheres:
https://www.youtube.com/watch?v=RCNzwdLwA8g

“I detest both geometrical position and total openness. I want a certain order, but an order slightly
disorganized…… I want to be free, individualistic, do as I please, and I refuse to subject myself to a certain
rule. But I cannot compose without a set of rules adequate to the idea. Music comes first: prima la musica,
dopo la regola”
John Cage (1912 - 1992) – one of the artists of post-war avant-garde. his studies in Zen philosophy led him
to seek a way to challenge perception of how an artist should express themselves through their art. He
found his justification in Zen philosophy:

“Music is affirmation of reality and the creation process – one of the forms of human unity with nature. A
composer knows he has to accept and not control sounds. He has to eliminate the author’s ego from music.
The question is – how does one achieve it?”

His best known piece is 4’33, written for the “silent piano”. In this piece, the pianist opens and closes the
lid of the piano 3 times, not playing anything in between. This piece has been interpreted in hundreds of
different ways; in the guide from his book Silence, He explains that “there’s no music on the record. It’s
around us when we play it.” In the premiere performance of 4’33 by David Tudor, the sound of rain and
the confused audience became the music.

4’33: https://www.youtube.com/watch?v=AWVUp12XPpU

Leo Brouwer (1939) – Born and raised in Cuba, Brouwer’s works have become a staple in classical guitar
repertoire, despite having little formal education. Huston’s (2006) thesis on Brouwer described his style
as “cultural fusion”, incorporating Afro-Cuban musical elements onto European art music. Through
Brouwer, Afro-Cuban culture, dismissed as “popular” or “primitive”, found its way into contemporary art-
music and the avant-garde.
From his seven points of historical Cuban Style:

- A. all the current sound paraphernalia is an expansion or transformation of percussion and

guitar.
- B. the seeming opposition of African and Spanish roots dissolved, as both parts integrated
without any of them being weakened.
- C. Some of the constitutive elements of our music came from European culture, and they were
integrated as parameters.
- D. I consider our lack of a long and developed cultural European tradition a relative advantage,
as it would pose difficult problems when the time for breaking traditions comes.

An example of his work: Rito de los Orishas:

https://www.youtube.com/watch?v=Cy3CHB3cuao

References:

Humiecka-Jakubowska, J. (2011) – Music perception of avant-garde: Musical structure and time

Huston, J. B. (2006) – The Afro-Cuban and the Avant-Garde: Unification of Style and Gesture in the Guitar
Music of Leo Brouwer

Borchardt, M. (2014) – The Avant-Garde Music at the end of the 20th Century
Aleatory Music: A Brief Exploration

Aleatory music, derived from the Latin word "Alea," meaning "dice," represents a compositional
approach where musical elements are intentionally subject to change or the performer’s
discretion. In this innovative genre, composers relinquish some control over the outcome,
allowing for unpredictability and creative collaboration with performers.

Relevance to the Classical Guitar

With its rich timbre and expressive capabilities, the classical guitar provides an intriguing canvas
for aleatory techniques. Here are some ways in which aleatory music intersects with the
classical guitar:

Embracing Spontaneity: Aleatory techniques unlock realms of expressive possibilities on the

classical guitar. Performers can make real-time decisions regarding dynamics, articulation, and
phrasing, resulting in unique interpretations of the same piece.

Graphic Notation: Some aleatoric compositions use graphic scores, which visually represent
musical ideas. These scores allow for open interpretation, encouraging performers to explore
unconventional techniques and sounds.

Collaboration: Aleatory music blurs the boundaries between composer and performer. The
guitarist becomes an active co-creator, shaping the musical narrative through their choices.

Exploring Extended Techniques: Aleatory works often involve extended techniques such as
prepared guitar (altering the instrument with objects), harmonics, and unconventional fingerings.
These techniques enhance the guitar’s sonic palette.

Examples of Aleatory Works and Composers for Classical Guitar

1. Maurice Ohana: Renowned for integrating 'microtonality,' a musical tuning system that uses
intervals smaller than a semitone, and aleatory elements, Ohana's works provide guitarists with
a platform for interpretive freedom. His unique use of microtonality adds a layer of complexity
and richness to his compositions, further enhancing the potential for interpretive freedom.
Ohana's 'Tiento' is a composition that includes aleatory elements, reflecting the
mid-20th-century movement that embraced chance and unpredictability. This unique feature
allows the performer interpretive freedom during the performance, enabling rhythm, phrasing,
and expression variations. The piece challenges traditional forms with its intricate harmonies,
rhythmic variations, and timbral nuances, encouraging active engagement from both players
and audiences. It highlights the dynamic relationship between the composer and interpreter,
showcasing Ohana's dedication to pushing musical boundaries. Notably, Ohana's exploration of
aleatory techniques has significantly influenced subsequent generations of composers.

YT Link: https://youtu.be/tHYn-BlIUL0?si=Zwa_MvCheKo5pTut
2. Leo Brouwer: His compositions often encompass sections where performers can exercise
choice within predefined parameters. His composition "Tarantos" showcases aleatory
techniques in classical guitar music. The piece consists of 13 musical statements played in
various orders. The performer's choices during the performance determine the sequence,
resulting in a dynamic and ever-changing rendition. Brouwer blends Spanish flamenco,
contemporary classical, and Cuban folk music elements, creating a captivating fusion. The
aleatory nature of "Tarantos" invites active engagement from players and audiences, blurring the
line between composer and interpreter.

YT Link: https://youtu.be/4KrI8xchkBg?si=L6NPWG-_zpSodtUg

While not primarily a guitar composer, John Cage has left an indelible mark on the instrument.
His methodologies, rooted in aleatory concepts, have influenced guitarists to adopt his unique
approach to the Classical Guitar. This influence is a testament to the power and relevance of
aleatory music in the realm of the Classical Guitar.

The composition "In a Landscape" was initially written for piano or harp but has since been
adapted for various instruments, including the classical guitar. The piece follows a rhythmic
structure of 15 x 15 measures (5-7-3), mirroring the structure of the Lippold dance. Influenced
by Eastern philosophies and Zen Buddhism, Cage approached composition with a minimalist
and contemplative mindset. "In a Landscape" incorporates aleatory elements, allowing the
performer to sustain resonances throughout the piece using both pedals. The range of tones in
this composition is broader compared to Cage's earlier work, "Dream." The piece unfolds with a
delicate and lyrical melody, and Cage's notation gives the performer freedom to shape dynamics
and phrasing. The sustained resonances evoke a meditative atmosphere, encouraging
introspection. "In a Landscape" foreshadows minimal music and continues to inspire
contemporary modern classical pianists. Its simplicity and open-ended interpretation align with
Cage's philosophy of embracing silence and chance.

YT Link: John Cage: In a Landscape for 11 Strings-Guitar

4. Toru Takemitsu: His Guitar works sometimes reflect the influence of Cage and the use of
indeterminate elements.

Tōru Takemitsu's composition "In the Woods" is a significant piece for solo guitar, created during
the last months of his life before his passing in February 1996. The composition comprises three
distinct movements:
1. Wainscot Pond:
- A painting by Cornelia Foss inspires this movement and features modal melodies emerging
from a chromatic background.
- The performer has interpretive freedom, allowing for variations in rhythm and phrasing.

2. Rosedale:
- Dedicated to Kiyoshi Shomura, this movement evokes the beauty of Rosedale Woods in
Toronto, Canada.
- Takemitsu captures the essence of early autumn sunlight illuminating the trees through
delicate harmonies and timbral nuances.

3. Muir Woods:
- Julian Bream received the dedication for this movement, inspired by the majestic Muir
Woods near San Francisco.
- The movement symbolizes nature's grandeur and humanity's fragility through the imagery of
giant sequoia trees reaching skyward.
- The piece invites the performer to explore the expressive possibilities of the guitar,
emphasizing register and timbre.

Takemitsu's unique sensibility and flair for color make "In the Woods" a treasure in the guitar
repertoire. Its aleatory elements allow for personalized interpretations, ensuring that each
performance is distinct.

YT Link: https://youtu.be/e2fT5wsK-7Y?si=qWLK2Omi7FQeznxS

5. Karlheinz Stockhausen: His explorations into aleatory music have inspired adaptations for the
Guitar. In 1968, the renowned composer Karlheinz Stockhausen created "Spiral," a significant
addition to his series of "process" compositions from the 1960s. These compositions were
known for separating "form" from "content," allowing performers to apply transformation signs to
the material, resulting in substantial variation from one performance to another. In "Spiral," the
soloist improvises with material drawn from shortwave radio broadcasts using a shortwave
receiver during the performance. The piece comprises ten sections with a sequence of 206
events, with processes primarily indicated by plus, minus, and equal signs. Despite the
unpredictable nature of the materials, these processes remain consistent across performances.
"Spiral" premiered in 1969 and received extensive performance at Expo '70 in Osaka, Japan.

YT Link: https://youtu.be/YWfhHj6Krdc?si=VT7FrRnpjWHIpO0_

6. Luciano Berio: His 'Sequenza' series, a collection of solo instrumental works characterized by
their virtuosic and highly expressive nature, though not originally for Guitar, has been adapted to
include aleatory techniques on the instrument. The unique nature of the 'Sequenza'
compositions, combined with producing aleatory techniques, creates a challenging and dynamic
musical experience for the guitarist.

YT Link: https://youtu.be/koGbnMgSnk4?si=Z-CoQBsNR5Z5HTIJ

7. Henri Pousseur: His experimental approach has influenced the development of aleatory
guitar music.

YT Link: https://youtu.be/zxNq6jnwyL4?si=pkIEqH_lz9VvDmzP

8. György Ligeti: His avant-garde style incorporates aleatory elements that resonate within
guitar compositions.

YT Link: https://youtu.be/VDG1daGpYsk?si=BMoaxNt-6JXTQjUl

9. Iannis Xenakis: His 'stochastic music methods,' a term used to describe mathematical and
statistical processes in music creation, have been applied to guitar music by contemporary
composers. These methods, characterized by their unpredictability and the element of chance
they introduce, have significantly influenced the development of modern guitar music.

YT Link: https://youtu.be/Mw7CyMEq2yo?si=RDw1rC6vKIoV0lp3

10. Brian Ferneyhough: His intricate notational style invites performers to engage with aleatory
decision-making.

YT Link: https://youtu.be/-uTyFQglfAo?si=0gG7LM1zlx8w_ejV

Conclusion

The concept of aleatory music, stemming from the Latin term "Alea" (meaning "dice"),
represents a significant departure from traditional compositional standards. By deliberately
integrating elements of chance and spontaneity, aleatory compositions redefine the roles of the
composer, performer, and listener. The following are the key points to remember:

Composer-Performer Collaboration:
Aleatory music fosters a dynamic collaboration between composer and performer. Instead of
rigidly stipulating every detail, composers provide general instructions, allowing the performer to
shape the musical outcome actively. Each performance uniquely embodies the composer’s
vision, reflecting the interpretive choices of the guitarist.
Expressive Possibilities on the Classical Guitar:
With its intimate sound and versatile techniques, the Classical Guitar is well-suited for aleatory
exploration. Guitarists can embrace spontaneity, experiment with extended techniques, and
engage with graphic scores to create captivating performances.

Notable Composers and Works:

Composers such as Leo Brouwer, Toru Takemitsu, and Maurice Ohana have significantly
contributed to the aleatory guitar repertoire. Their compositions blend tradition with innovation,
inviting performers to explore new sonic territories.

Aleatory music challenges conventions celebrates creativity, and encourages listeners to

engage with a fresh perspective. As one continues their musical journey, it is worth considering
exploring specific works by these composers or experimenting with aleatory techniques on the
Classical Guitar.
References

Pritchett, J. (1993). *The Music of John Cage*. Cambridge University Press.

Brouwer, L. (1974). Tarantos: An Exploration of Aleatory Techniques in Solo Guitar Music.

Journal of Contemporary Music, 12(3), 127-138.

Cage, J. (1948). In a Landscape. Wise Music Classical

Ohana, M. (1980). *Tiento*. Éditions Jobert.

Takemitsu, T. (1994). *In the Woods*. Schott Music.

Stockhausen, K. (1968). Spiral: An Exploration of Aleatory Techniques for Solo Shortwave

Receiver. Journal of Contemporary Music, 27(4), 189-202.

Berio, L. (1988). *Sequenza XI*. Universal Edition.

Pousseur, H. (1972). *Vue sur les Jardins Interdits*. Editions Salabert.

Ligeti, G. (1990). *Musica Ricercata*. Schott Music.

Xenakis, I. (1990). *Psappha*. Editions Salabert.

Ferneyhough, B. (1970). *Collected Writings*. Routledge.

Exploring Minimalism in Classical Music Through the Classical Guitar

Abstract

The minimalist movement in classical music, which emerged in the mid-20th century, is known
for its repetitive structures, steady rhythms, and emphasis on tonal harmony. This essay delves
into the minimalist movement in the context of classical guitar, providing specific examples of
works composed for the instrument and discussing the impact of minimalism on guitar
composition and performance.

Introduction

Minimalism, a distinctive movement in classical music, emerged in the 1960s as a departure

from the complex compositional techniques prevalent at the time—the movement aimed to
simplify music by emphasizing rhythm, harmony, and melody.

Minimalist music is known for its simplicity, often using repetitive structures and a consistent
pulse to create a captivating and trance-like auditory experience. Short, recurring musical
phrases, known as repetitive motifs, are a hallmark of the minimalist style, providing coherence
throughout a piece. The steady pulse is an anchor, grounding the listener and inducing a
trance-like state.

Minimalism's influence extends beyond classical music, impacting genres such as classical
guitar. In this context, minimalism has introduced a new way of expression, focusing on the
guitar's tonal qualities and exploring the nuances of sound produced through different playing
techniques.

The movement has also challenged traditional musical development and form. Instead of
following conventional thematic development and variation, minimalist compositions gradually
explore a musical idea through slight alterations. This concept of minor alterations as a
compositional device results in a slow evolution of the piece, allowing the listener to immerse
themselves in the music more immediately and viscerally.

Scholarly analysis of minimalism in classical music has looked into its origins, key figures, and
philosophical underpinnings. Researchers like Kerry O'Brien and William Robin have
contributed to a deeper understanding of the movement by documenting its history and
broadening the scope of influences and contributors, enriching the discourse surrounding this
transformative musical movement.

In summary, minimalism in classical music represents a significant shift that has profoundly
impacted the music landscape. By emphasizing fundamental musical elements and using
repetitive structures, minimalism continues to influence and inspire musicians and composers
across genres, including those within the classical guitar tradition.
The Essence of Minimalism

The minimalist movement in classical music began in the late 1950s and gained prominence in
the 1960s. It marked a radical departure from the complexity and density of the music of the
time. The pioneers of this movement include La Monte Young, Terry Riley, Steve Reich, and
Philip Glass, who aimed to create music that stripped away the excesses of traditional classical
music and focused on fundamental elements such as rhythm, harmony, and melody.

Extended drones, a vital feature of minimalism, provide a continuous harmonic canvas over
which the rest of the composition unfolds. This technique, often featured in Young's early works,
involves long, sustained tones that create a static yet immersive sound environment. Repetitive
motifs, another hallmark of minimalist music, are short, repeated musical figures that form the
backbone of compositions, creating patterns that shift gradually over time.

Repetitive motifs are another hallmark of minimalist music. These short, repeated musical
figures form the backbone of compositions, creating patterns that shift gradually over time. This
approach to composition can be seen in Riley's "In C," which consists of 53 short, melodic
phrases played in sequence, with each musician having the freedom to repeat each word as
many times as they wish before moving on to the next (O'Brien & Robin, 2023).

Tonal harmony in minimalist music tends to eschew the dissonance and chromaticism of earlier
20th-century music, instead favoring a more consonant and diatonic approach. In this context,
'tonal harmony' refers to a harmonic system based on the major and minor scales, creating a
sense of tonal center and stability in the music. These contemporary musical devices are
evident in the works of Reich and Glass, whose compositions often feature a clear tonal center
and use simple, triadic harmonies.

The mesmerizing effect of minimalist music is not just a result of its techniques but also the
unique experience it offers. It draws listeners into deep focus or meditation, inviting them to
explore the music's repetitive structures and gradual transformations. This heightened
awareness of subtle changes and the passage of time makes listening to minimalist music a
genuinely engaging experience (O'Brien & Robin, 2023).

Gradual change is a process where minor alterations are introduced slowly throughout a piece.
This 'gradual change' can involve changes in dynamics, timbre, rhythm, or the introduction of
new motifs. The effect is a dynamic evolution of the music that unfolds quickly, allowing listeners
to perceive and reflect on each subtle shift. This approach to composition is a critical element of
minimalist music, contributing to its unique sound and the listener's immersive experience.

In summary, the essence of minimalism in classical music lies in its focus on simplicity,
repetition, and gradual change. These characteristics combine to create a unique and1 powerful
listening experience that invites contemplation and introspection.

1
Difference Between A Robin And An Oriole - Relationship Between.
https://relationshipbetween.com/difference-between-a-robin-and-an-oriole/
Pioneering Composers

The pioneers of musical minimalism, including La Monte Young, Terry Riley, Steve Reich, and
Philip Glass, have significantly contributed to the genre through their unique approaches (Potter,
2001).

La Monte Young is known for using sustained drones to establish a sonic foundation for his
pieces. He explores sound complexities through intonation and ratio-based tuning, often
creating pieces that last several hours. Young's minimalist approach is significantly influenced
by his fascination with Indian classical music and the teachings of Pandit Pran Nath,
emphasizing sound's meditative and immersive qualities (Grimshaw, 2011).

Terry Riley introduced a new dimension to minimalism with his piece "In C," consisting of 53
short, melodic phrases played in sequence. This work showcases Riley's use of repetitive motifs
and a modular structure, allowing for improvisation and variation in performance. His
compositions often pulsate with rhythmic energy, encouraging active listening and engagement
with the unfolding sound patterns (Carl, 2009).

Steve Reich is renowned for his rhythmic innovation, particularly the phasing technique, which
involves playing identical phrases on two musical instruments at steady but not identical tempi,
resulting in a complex interplay of patterns and rhythms. Reich's works, like "Music for 18
Musicians," showcase his signature rhythm and the concept of process music. In this approach,
the compositional process becomes part of the listener's experience (Yust, 2021).

Philip Glass, the most widely recognized minimalist composer, is known for his operas, film
scores, and concert music. Glass's style features arpeggiated melodies, oscillating dynamics,
and an emphasis on harmonic progression. His operas, such as the "Cocteau Trilogy,"
demonstrate his ability to adapt non-musical forms into the operatic medium, exploring the
relationship between music, narrative, and visual elements (Vincent, 2022).

In summary, these pioneering composers' impact on minimalism is priceless. They have

expanded the boundaries of classical music through their unique approaches, creating
intellectually engaging and emotionally resonant works. Their contributions have not only
defined the minimalist movement but also influenced subsequent generations of composers and
musicians, inspiring them to push the boundaries of their art (Potter, 2001).

YT Links to Minimalist pieces of the pioneering composers:

Terry Riley (Ascension from the Book of Abbeyozoud):

https://music.youtube.com/watch?v=CaEEm2-uJ4s&si=A0lTJ_ffiOMlGZFC

Lamonte Young (For Guitar): https://youtu.be/nsCayk7YrG8?si=YDE_abea-pZj3VoR

Steve Reich (Nagoya Guitars): https://youtu.be/39zankJrPAI?si=_qR8Me80IYbteWXT

Philip Glass (Opening Arranged for Guitar):

https://youtu.be/mCXpK-Vy_vA?si=_0nPZwe1A_82xvvU
Minimalism and the Classical Guitar

Exploring minimalism in classical guitar music unveils a captivating realm where the
instrument's unique traits harmonize with the minimalist ethos. The classical guitar, renowned
for its intimate sound and nuanced expressiveness, offers a distinct canvas for minimalist
compositions. While minimalism might not be as prevalent in the guitar repertoire as it is for
other instruments, the works and composers embracing minimalist principles for the classical
guitar are genuinely noteworthy, contributing to the evolution and diversity of the instrument's
repertoire.

The classical guitar's role in minimalist music is not just about fitting in but also adding a unique
flavor to the genre. Its capacity to articulate subtle dynamic changes and its polyphonic nature
makes it a natural fit for minimalist music, which often thrives on repetitive structures and
gradual transformations. The guitar's ability to sustain tones and employ repetitive motifs, both
critical features of minimalist music, is a testament to its versatility. Composers like Leo
Brouwer, Nigel Westlake, and Phillip Houghton have harnessed these techniques in their
minimalist guitar compositions, creating a rich tapestry of imagery and landscapes that truly
showcase the guitar's unique role in minimalist music (Branson, 2011).

Brouwer's "La Espiral Eterna" exemplifies how minimalist principles can be adapted for the
classical guitar, creating a piece that is both rhythmically compelling and harmonically static.
Westlake's works often employ minimalist techniques, using the guitar's timbral possibilities to
evoke landscapes and natural imagery. Houghton's compositions frequently feature repetitive
motifs and gradual harmonic shifts, aligning with the minimalist aesthetic (Branson, 2011)¹.

In addition to these composers, the guitar ensemble genre has also seen the use of minimalist
techniques, with works by Steve Reich and David Pritchard contributing to the repertoire. The
evocative power of minimalist music on the classical guitar provides a contemporary context for
ensemble settings, where the interplay of multiple guitars can create complex textures and sonic
landscapes (Branson, 2011).

In summary, while minimalism may not dominate the classical guitar repertoire, the existing
works showcase the instrument's ability to convey the meditative and introspective qualities that
are hallmarks of the genre. The classical guitar's unique sound and expressive range make it an
ideal medium for minimalist music, providing a different perspective on the principles of the
movement.

YT Link of classical guitar pieces in the minimalist style:

Landslog VII by Gulli Bjornson

https://youtu.be/P7UlEzEqdpI?si=eXK_cUhfgb5zJ56v

No. 7 Romanza from 10 Studies in a Minimal Style For Guitar by Aleksander Wilgos
https://youtu.be/FeWW-ps6MtE?si=lLu5GAqpDkL2jB-k
Lost in Time by Benjamin Barbaric
https://youtu.be/NWIqw5ZyHUo?si=GmZNN0rriJKoiuBs

Stele: IV. Web by Philip Houghton

https://youtu.be/8NsQJrwF8mI?si=yVfVtBMzynN_tSnR

Carlo Domeniconi's "Koyunbaba" is known for its minimalism, featuring repetitive motifs and a
modal tuning system that creates a drone-like background, especially in the second movement,
"Mosso." The composition follows a minimalist structure, with variations based on a simple
thematic cell that gradually develops. The third movement, "Cantabile," uses sparse melodic
lines over a static harmonic texture, reflecting the minimalist aesthetic of tonal stasis and
meditative focus. These minimalist elements are discussed in academic analyses of
Domeniconi's work, highlighting the influence of Turkish folk music and its impact on
performance.

YT Link to Koyunbaba
https://youtu.be/szY7jmWHXJc?si=yRdxXgR41fqi-vi7

Leo Brouwer, a prominent figure in classical guitar, has made significant contributions to the
minimalist genre through his compositions. Two exemplary works showcasing Brouwer's
innovative minimalist techniques are "Canticum" and "La Espiral Eterna." In "Canticum,"
composed in 1968, Brouwer uses repetitive motifs that evolve throughout the piece, creating a
sense of meditative introspection. The steady pulse is an anchor around which dynamic
variations ebb and flow, allowing the guitarist to explore a wide range of expressive possibilities
within2 a seemingly constrained musical framework.

"La Espiral Eterna," composed in 1971, further exemplifies Brouwer's minimalist approach. The
title suggests an infinite, cyclical journey, mirrored in the music through recurring patterns and
motifs that spiral outwards, gradually transforming as they progress. This piece challenges the
guitarist to maintain a delicate balance between the repetitive structure and the subtle shifts in
harmony and timbre, requiring meticulous attention to detail and a deep understanding of the3
instrument's tonal capabilities.

Both compositions reflect Brouwer's mastery of the classical guitar and his ability to infuse the
minimalist idiom with rich emotional depth and complexity. For instance, in 'Canticum,' the
repetitive motifs create a sense of introspection, while the dynamic variations allow for a wide
range of expressive possibilities4. Through these works, Brouwer demonstrates that minimalism
in music is not merely about simplicity for its own sake but is a means to explore the profound
nuances of musical expression and the vast sonic palette of the classical guitar, evoking a range
of emotions from contemplation to excitement.

2
breedlove guitars News & Articles - Premier Guitar. https://www.premierguitar.com/tag/breedlove-guitars
3
Beach & Travel Towel with Style – KTTYHWK. https://kttyhwk.com/blogs/news
4
breedlove guitars News & Articles - Premier Guitar. https://www.premierguitar.com/tag/breedlove-guitars
YT Link to La Espiral Eterna: https://youtu.be/Iz4iVgi2FOU?si=7i8hyGw8htlWClCC

YT Link to Canticum: https://youtu.be/VIufPvsw8CI?si=xpAVCidjeKR8CU_W

Dusan Bogdanovic's "Mysterious Habitats" is another notable example of minimalism within the
classical guitar repertoire. The piece's minimalist character is built on repetitive motifs, which are
not just mechanical repetitions but also feature subtle variations in texture and timbre. This
showcases the classical guitar's ability to produce various sounds. The minimalist nature of
"Mysterious Habitats" is further emphasized by its focus on the clarity of each note and the
resonance of the guitar's strings, creating a sonic landscape that is both rich and introspective.
Bogdanovic's work demonstrates how minimalism can be expressed through the classical
guitar, highlighting its versatility and the depth of its sound palette, which are essential for
conveying minimalist music's meditative qualities.

YT Link to Mysterious Habitats: https://youtu.be/wayeqSR4weo?si=7nLal5DVwCTEQn3t

Conclusion

The minimalist movement has profoundly influenced classical music, shaping the creative
output of composers and performers. This reductionist approach, emphasizing tonal repetition,
has found a harmonious expression through the classical guitar, celebrated for its intimate
sound and rich tonal palette. Minimalist compositions have significantly enriched classical guitar
repertoire, showcasing the instrument's capacity for subtle dynamic shifts and textural nuances.

Composers like Carlo Domeniconi have utilized minimalist principles to create compositions that
blend cultural musical idioms with the movement's aesthetic, resulting in globally resonant and
stylistically distinct pieces. Works like Leo Brouwer's "La espiral eterna" exemplify the minimalist
tendency towards cyclical patterns and gradual development, drawing listeners into a meditative
sonic space. Similarly, Dusan Bogdanovic has contributed to the minimalist dialogue with
compositions employing iterative motifs and evolving harmonic structures, offering a
contemplative auditory journey.

The classical guitar's exploration of minimalism reflects the instrument's adaptability and
potential to convey complex emotional landscapes through a minimalist lens. The works of
Domeniconi, Brouwer, Bogdanovic, and their contemporaries demonstrate minimalist music's
extensive possibilities. The classical guitar offers listeners a unique and reflective experience,
emblematic of the minimalist ethos and its enduring impact on the classical music tradition.

By combining the minimalist philosophy with the expressive capabilities of the classical guitar,
these composers have paved the way for continued inspiration among musicians and
audiences. Their contributions underscore the classical guitar's ongoing relevance, offering a
distinctive, contemplative experience within the broader context of minimalist music.
References

Branson, M. C. (2011). Minimalism and the Guitar. Edith Cowan University.

Brouwer, L. (n.d.). Canticum. Eschig.

Brouwer, L. (n.d.). La Espiral Eterna. Eschig.

Bogdanovic, D. (n.d.). Mysterious Habitats. Doberman-Yppan.

Guitar Salon International. (2023). The Story Behind Carlo Domeniconi’s “Koyunbaba” As Told
By Aniello Desiderio. Retrieved from
https://www.guitarsalon.com/blog/the-story-behind-carlo-domeniconis-koyunbaba-told-by-aniello
-desiderio

LA Phil. (n.d.). Koyunbaba, Carlo Domeniconi. Retrieved from

https://www.laphil.com/musicdb/pieces/2159/koyunbaba

Gann, K. (1997). American Music in the Twentieth Century. Schirmer Books.

Mollaghan, A. (2011). “An Experiment in Pure Design:” The Minimalist Aesthetic in the Line
Films of Norman McLaren. https://core.ac.uk/download/227102278.pdf

O'Brien, K., & Robin, W. (Eds.). (2023). On Minimalism: Documenting a Musical Movement.
University of California Press.

Potter, K. (2024). On Minimalism: Documenting a Musical Movement. Music and Letters, 105(2),
272–275.

Webb, S. (2020). Reconsidering the Roots of Minimalist Music: An Examination of Post-War

Europe and its Minimalists. University of the Arts Helsinki.

Fink, R., & Sun, C. (2016). Minimalism. Oxford Bibliographies.

Radovanlija, M. (2020). Two Contemporary Classical Guitar Composer-Performers, Carlo

Domeniconi and Dusan Bogdanovic, and Their Work of Synthesis. Academia.edu.

Sönmezler, A. (2013). Turkish Musical Influences upon Carlo Domeniconi’s Variations on an

Anatolian Folk Song and Koyunbaba: Implications for Performance. The University of Arizona.

Fartach-Naini, O. (2017). Ethnoclassicism in Guitar Chamber Music: A portfolio of four CD

recordings and exegesis. https://core.ac.uk/download/482264080.pdf
Harries, C. (2014). The Solo Guitar Music of Carlo Domeniconi: An Exploration of the Diverse
Influences. Waterford Institute of Technology.

Analisis Tekstual Koyunbaba Karya Carlo Domeniconi: Bentuk dan Struktur Bagian I Moderato |
Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik.
https://ksgeo.ppj.unp.ac.id/index.php/musikolastika/article/view/53

Grimshaw, J. (2011). The Ideology of the Drone: La Monte Young the Mystic. Oxford Academic.

Carl, R. (2009). Chapter Four Analysis: Terry Riley’s in C. Oxford Academic.

Yust, J. (2021). Steve Reich’s Signature Rhythm and an Introduction to Rhythmic Qualities.
Music Theory Spectrum, Oxford Academic.

Vincent, D. (2022). Philip Glass’s Cocteau Trilogy, or the Multiple Ways of Adapting Film into
Opera. The Opera Quarterly, Oxford Academic.
 Carlo Domeniconi

Koyunbaba
Suite ftir Gitarre (op. l9)

l)rrs ohcrc S1-slcm isi dic rcnlc 'lilthiihc. dar untcn' chp GrilIa'ltrili (S(anhtrrrr.
Drliir hahc ich als Basir rlic nrrnulc Stitrunutrg a
a)
_a
*$ C

pcnrnrtrrtltr
Es
({r hlcihcn dic .1

cmpfiuhlr \i(h irh'r rlir' Gitrnc nicht

Burs"Saitcn pL'ichl.
I?= - _a
a
ac

qurdt'nr
8.),=*- -',''r."' =

,u {imnrn.
,

ilt\rr \\$cu, llitr\ tltc \,Iilralitrll t irc&. IAr lrn'el r.rrr?rl srrrrtra
'r'tw ,rrp rn.{rrixgs
l'xarfthililrdt. Than'for I lxtsiuillruxl the nsual uuirc a
f, a'
? - ,-
stt ttut .'.att tlr thrl'.' l.t$4r rt|iugt.
^.'.'1,
At,rltu!at!.,ttt.rr.,ttcthcxninu. .
I ioi.
r Ei-*
A
i =='
."
=

PRsrxr ReD[ , ]4ARko z"X€azo'ta

 ),0 Vloderato
tr.JrRa
/
//
X x
Xr
iP
dn
I PC, pi
(Y)
tF f .L r I tf-f I'
Y ,P T
frt <*,i.fi
.J ia
jA )
- .,-.'
a2- o= g'- =o
=-t.D n'

v'11 . ril

A
,Ar
'@r'lo o LuL
o
5 t
ooo
L.t 4Zo
I
--i- TA
a o. o 1o i.a) oco
|Z .--- a'o -io o i: .a3
o'o 1o tio. t.

a
u DL ,F- ? ,l- a
o't
0)

X
JI- i'tfr i !^f, ? rr71 i,,
15
+Aj
rr? i
a,f|,
'i 3 rtA 3 I 44 j 4
frt

a7
(n

Gff t3
l

\r

I
'i== 2 ,- + iQ 2a:r2 )a-+ .-J oo 'a'
ltt . io ]o ei. . .
liaa
'.o _oa
oa
a
ta
a
r
t X i..
te
*- D -()+ !
o\,,
It
'xo o
=--
- rre l
,^

,'taa
W 1 G"i * t t l* " I \.,r ?-
4 ao'
-l
ll'nLrn; tL+
. o] . l,=.' ,tr.'
A ?
,t ao ..io' o a o
o : o a' =o' a ta
a a
uao, I ol.ot a'
nrna .naot a a

'x ':'Y x rr
PP,0cP -11-

I
--c -4--
 e
)a'

7 -X
2'imi
)Y--r
\ tt'l
q
' s?'-l z A | =%-z i*, 1
'= a'*=t
{la o' a
o
9-D J)
t

(: 2i +-'
' ' =2:) a==

fr,:
''x ryZ-
= oa

x
oa o'
a

*
art- -1
lin
v
i

?) ., -r'"") ,\ ---\ I
r
{ n?,1 _.1 .z .ti,.i -l 7 /7
'..a-
,tt:,il

'''.22e 2t2 -i-

-i
|

,---Yt, e' ,--'

^v^
+3
o

='*=oa o., a a a a a
1

.. o, o
-?.r /'1 ,

vlll l
J-- r., - rl
4<a?--Z
'' ) -'t c
3 ','2i ='
_\.2 o, o'.
O.Oa'.lO'Za\
i tz O,
o
a
,6 _(*
7 -X. -V.
-/
p X -/\
t----
=
O

I P(
--

I
\

-t\
r--fl-
 *=:JT I I'n , a
,
7
I
fr;
.r.t--\
( q
I

L o DZt 4
l4zq?4 t'-

.J(o)o r. )a . \
i

a
i
i-
oa
.. o, a =. io \.-
a a a ta ilo' ,aa.
J ' '.
=
,1- <, =X'
C -z\
-V
-'
/
D?x A
;
-\L /ru{R.p Ltrcwp>

ffi
(t
Ar
t
I
rl

: ,,1 : t
1

\ ./*\
t \
o. I .r l'.o '- €1.
i'-
'' / =Y, i
i|-o
1)oto
2
-7.,:
a /- --
+ tzl l' =t=
t

,,/.-,\
*-)\ 4''t'1 t
1 4\
t'-a
Lll
-7

.t
?-+ 4 '-E
.l .t
)
,,3 .+ae a,+ . .:2t t=o .rtj o- A.o 2 + .r,J .e Qt , +.i2 + ,-
a '.a ?o . a - ,. ,
o o. ,oo. "o 'ao.t./
-- --
N@
*v-
3dl.'itn h";'fln Fii ^ - ^r fn fn i.r1 r
$

AA43y\nz'ib,A,',0
1 LJ'1 ;t24 zQ ---A
1 t)' ,t-- ,. ..? t 7,
:1)r.
i2t o-4i ot,i2 L_
rs-_[ t '* . , . .i. . .
i ' r.X
{rx y-
r)

x_
f in-? fnT hni r^i
Yh; alr;
jnn Z' + 4qJ ,7 ^^12 l,
fi-"
A2
r ) Aa_, ,1'I 7

-='; tl s- a
ilut<tr<ht

* i'1' |f.ul'="'n1n,
C
'*'. e. o o'-o
,.f7 t, oaa

Py
rlrfRo 4*
-3-
 .l' /1o
trM osso END
{X
-__r---
ag t3 4a
E
AJ nili-,1 a ,c4
4* o aio o-.'i +
o:!-,
oooaoa
,* n* 6oi?n
ia ; . ; . .:l
oo lzo o=o i nz. o o o22 (t
.aroaa

b
rG
3t- /
--

Jb'at D cc Tdi, ztt 3tt 3 5 3 \

3+
-
',,'l t''L
tt
r] t-
t::: a
?t.=.t .=.' .r.
o o
a
.ra, oa ,.1 .tl ci
E--
aaaaaaa
=
--r--
nni fnitr i
xlx
--'<'

-
-
-
rn
,G lfra )
l=
| ,.'
\ -
- -. +,--
\ r \ r \ r \ - \ ..t-*
+-+ +-+ +-+ + . \ <a.*e
-c. \ a.-+ r \ i;-,,- \ +-11 \ +-1,. \ <>-1
-+
r \
:
, :- :- :=lElE= \
-
,*;,

x
- - - - - -':

'@0
.-4

Vlr

L__
n
:
"-Z -Z -L
\ \. .:\.\
\ \ +. \\ \\,
jo 'oo a' o', io' a a, Or a'a ol lo . .. ta.aa.a
too ata aaa ;aa 'ota
a a 'c aaa 'a a 'o o
: ::::4 ## #:
6\
.:/

\\,\\:\
: a a', o a ' o \, \. \,
11 ia, o' a' ,a a a a' a
aaaa'o .'a
a a 'a- =t. a 'a a aa '
a--'- f,--€ f,--4 a-
-)-d -.-€t ---- -a-d

e
 /Az t+
\
4+ \
+ ir -r-\.r\r\
=o O--, l- 'r, + -it--+-++
.r.\t\t\r\
=c
-. IE
--.t>--+-*+-+
-;- -
-- - - - -

Xy.ffiT
2)
1/C--t,;-)r-
**arif*- i- ' 4xbL-
l

:; \ -.' \ :'\
' o.e'.a.=o'
f-znA*--r Z.
o. o' :; 1.
\. o
!."a1a
\ --
aa.-
r
--
oa.
\ o\
tt
a
tL\z ,
j,
o'' ot'
1--J o --j
o --Jaaaoaoao .j i-'- !o- . . 3o 'aaao o,:,\; aa
hrr h-r

-r - - -
- - ----

le
4
-7
'4 -,'
& t'l z 1
7
t-L 2 2i- '-a- ,-
02==
o jit o a
oo soojo.
ara a 'o oaaa

2
7 4
'---7
4e -
I .i
ti. o 'a.
on
/*L
o'4 2=
o )io o a a oa ,r-o,,
,aa 'a a o o'io

- 5:-
 : Itr cafltrne
caryfi ) '/oL BLA,,TY
'-'--\ jr 1ra t (€\
)-i <3'I
43 C --),
o --)a
'' '>i.i€*'. ,x+- .-., .
1=t 'o o. 'oo.i
i=. .o.J ,' , .oc o o..
:
i., . . o o.
.
:

\'{
F-'--
iT i rxi *1.''r
r { .dii- Q,r *.Q.
Q.,ri-.,Q,
='.
.V *J*
t4 :
-rtr
ir) rn
i rrlr"Mimlrn
r
'Iii ; r .1;i;i;':
i iffi;
ilffiYvr
r

.a-
o7o
<
,.4
,i
f il' il
r'",,i
f f*j; ; -*'' ?Ti;(
i
9 r, l' N l*l t*nI
{
[r' frl
r3 4 + z;
e,i
.?-ol2c-..-J'.i-.

lrn '\n,] a

t
PX" X
Lrrt q --2
o\\
I
A n

:i..-4
q>
'r--
-ro zo
o
oa
r b
I
I

t.2
1
otr.
L-*
o ' a
L'-

,a
'o,
I
o
,

x =x rx
-
a
,>-
, ,4
0 ,/*
ao, ot o)
0, ta7Oa a a
oo oa a aa 'a
irl-

- --

-6-
A,
'a'
-a
:
a-
a' -a_
a'
t- a-
\
-l

-aooaa t)ao
v
oo o a oa a
.) oa .?
o, a oa oa a

-
nI
'.1
L I
L
!
a)je,.o a) , ''. a .i'
.O ,e ,a '.ro 7O t,,14 aO o
a a a a

-,-) -L
(
:
\ \i
\e
'. oa o a )i. : o'i' Oa orooa
ooota ? a beoaa o' lor' o.'oa i
oa o o a 'ol

- --
a,/ "L
L-
,
l
I

li : .i
\' \ \ \l
,i. aa ai. ,,.
i2'
aa , a' a. a .-.-
a' o' o' o' loe'
'o. i,'i
o ao a a

- --

^()r /
D L
td,,u"rin A
:
.\ o.,
I

o.\ot
; . r ;m 'A"ln
{ t,ooto. rroffitPi,
aa t oto.ol
o' ta' ioa' o' a' . . ' i
aaor'i ^-
a a'oa :.

- I YIrffi 1 I
 L i

'io io i=o ia ',=a irt

a-
ozc oza a. i
oto tr. o i ozo oaa
a
\-z \,
1K x

lz
-L i
L
ia uo ,io
I

iio
I

ltt iZ" a o
ti. o i,. ti. tro . i tr. .\,
I
taa
'. a- al' '.oi la
\

X
Irm
-E--

?\- li"
l',m
-il I)
llr-+,.LO
'-1
=o tro
ia
ooo i:" . a o . o.[l'"o,o, y" .o. Por. o
oo o
o
o
_.t --t

r
cl
3#
ti
o a i' 2r*
o
oooa ,a oo.6 io
:'oo:'.o lo t.3'
q a I
oa
7. 1O
oa a\-\^/aa _ y^ q ^
32ll . oa

f/\\t
X
,T44/t
l,
14 z :'&. z. a. z2
l-=. - o :---. ..-io 'a
I'aoa c ooi o oo'' o aa
 A rni

a
J AI 4
a
o o'-c' aO' o 1o' aO' - i.' o ta ta.ataa'a.
a
o, oa oo io ,. oo a
o
1U

r
--l

x
^.'

z \ HztN I

a.o t i.' C
'.io e
o 2o' aa'
'' o .lYtit' o,
i
o
o * '- l' a-
a
a
oa

/(
Y X \1
=
x
K"*rE4
4
oa a 1o io ii' o'o. o. o'o,
ol or .oo ot o. o : oa

x6
..o
'o 'oa loa

-
=
_= V
-_-
oa -a
X:
1L
A
t,
/w-
i.
t'- ,
io
_
,1_r_r
D 'I
,,io Zo
c
:io a
o o iio zc a
7'a
olo a ala
-(aaa 'a i ,.r. t i ..

x x
a 'fiJ e

N /t D

4e+
iooi=..ii.
ti. o t. o tr.
' i :
o.oK
K /- X
//' 7X
4'
-, (-
 \l

J
Z
2
13
t=. 0
I
o, t, ooioooi =t
a^a
avaia ioo a a a
ia a

b*tZh${'
-!-\
I

fi 3 -4L ,,lL c)><

1

''4'2 ---4:\ i
I

o lo rO
i'.oo:r.o t=.
aO : j ' oio nl'=o r. n it r.r. ot' 'a
o
aF
---

E
4z I
,,
l--,/- I' L7.
.l-:-

,2--C t-L ,-
:

-i- o2 l=t
l-
.a
n l=, o
a a a aa oooo o,,
a ao
o0 ioa
i'
o0a aa '.0 a
r)-
,\ A
'u[
j-- t
/'' ,/ I
,':'
-i. o ,2 e oi! =2
o
ioo
oio o 0
ao
i
'a
a a ai
aoi
"4-
i o
OO
aoo
oo !;o ai
oa:
a a a

X
-Lr- -a

X n
A.
_!- \ b?-( Lerr^ip
$

I
t

I
oo
ni'
a
?t.
ooio :1..
a=C o o D .Zo
aa
ro
',t=tra
o
.,3,,a',2.12 o

a .1 . i

-
--
b A-
I

K@
 *i' eaea oa +a *i.
a ooo oo
'a a o
a a

fx
r-- O
-i--
' --- T

n)\
."--4

/
a +
ee ioo ti' 22Lar 2C a.?
o o
a 'ra"to a
.X
x
o ,4fl'
a
O
\. 4--

h-x
-- I
x

a, I-{' 4 1
,l
t' L. . -*' 2. . ,2 a, L1 22o
ioo i -i.
. ia . o o i
io
-ic . a a
a.
+
\,/\X xx.
--r-- \. \
-4f
----- . /
z\r
A
lruL
4-._}-

4
4
Z rr-'--1
a-2 t2 + + O al ?,.1
='..
a ai - tra --, a )aar
',. =.aa.
a
la
,-- ,--4-
O
4'J'
'.u
---zJ-
--d--

)(
-2-.r-
.A ,\
-

o
3/ r-il 3/1
e
,
9 | '.1 2et
E, . -;_J__-
e
'-:at"
.-:---- 7. I '/. '/
I

n, ,T
@
1---€a
7J1
/:i;- hn I 4, L,

P,^Y -,F14-
 , i q34 q j4
3 -5
o., o g i?3o ' 7O..zo- oto i
.. e . >-.-r--- a

=
a(
\ao ^7\
)'
=)(
+(
o
a
TT
d'

Z?' hh i ,
? \i, , =_.-
4,
A
j
r ro
,.r...
t.
?r?O . '/.
rl.
i'o' =2,
:---r---
,'-_ :
d o ?
, = )< = Yo
riltrr
.+t
an
<-l
5' t,r'F

.F
3il,k 'la
{^i
2-4
-{^
2_+
t
{
e'e
ll
2_ -L
I
?-r
I

2
I
A
'o/
fq ,a lor'l . fl: ., ira
-.

=x
L =xo Y
/

/
,
I-

'-o:
h
.ff
i
I
I

A
I

;.ze
t

o.
tr
n-
'=x o
,y
,, . ?' a ,.

= -.?
r
a
il' \.1
-
W. =K'
e
=
i
11
rlt- * ---I-- I

T
?
--_T-
,r\ /4'
T
A I
4
,: . ..
a
o a o.
o'
'i# I
o
a
-Xt o
e e ,O, C

-'lL-
flxl x IV Presto J =4"C
Terttr
4 /t 3 4
A
Z- I
n2*4

il
F.FF=i F F F I

iFi FF.
lri a
a i'-' )ao
3o, t,o, 't., , ? a\a.. \' \., o
;a
,\aa\, \'
_ t_.--t-- _ ---=.rE_ !
1i1r rltl rir

/ 4 3 A7A z l
4%/1 L
FFFF
,.aro iFrtFi+-F=t\
t_o a a t_o a a ..=o!o ,.o. c?o
\'-a\t-a ,. .
a\aa\a a\aa\aa\aa'\a
E-_.-_ l-i--_--_.a---

----*--!-=
:r:.r :.r:r i:l

r I

J
i
F= /= *=
4=
'aoa ooa ,oaa io o o
aoaa tL \trtL \',
4 -/-\a-/t\a
t s t
-
-- - -t

a= 4= 4=
,eee
a= iA=
.oro
== ,eoJ ,-a_ _a- .a-
eao :ooa
o./tEtat-a \e o,/ \r .,/
- \, . ./ - \, , t/-\'.t/-\',

--
4
- -t-
_. a -- - -'- r---
-

lr= 8=
.a o o -a a a
a==== a a.', o a
?=?=
?/---= \' . ?u 1?OO)zaXeOJ1
- \'r -/t\Oa-n':OO '
_-- - -oarE-a
-
- --
-- -
-_r
-
_A1 .,t
 'r r
1>< fix
^w{
4
= = Jfrlaaa =
=aoa = oa' o.,. .oa'
o?oooa
Jt\-a
taaaa
-/-\aJt\- \-e oo aaaa1r
:

-rr- EE= E

- -
-
-
- -

',oo aa
c'o'
o.) . ?' o-? t, o' i -. o' o'
**',4>!', .,)o ?
'Z?'
l- :

:==-:
\,.

t,.'
1..? t ''
Ly:Z='Z='z-=' o.? ?
t
,, t'
i
..1 '' ,.'.- '7'' i .'.
\..
i'o c ''
\--
aa
-J'

Frog
,A 7 z 4ts 14
iir-
-? [
r]
,!-
s.F a
\. .llli ,,\ .
F F- F
- o a. ,
r:
=:
'!,
::
. ?'oo a'
'aa
:a
'- o,
-t
,..a

-
\a
t
a. a
\a
--- -
q
\aa
-.- -
\' \'
I _ I

rn Yfi
fj

{-..
"an )
t- 4 3 .F
F
l

F F. F F F S- l=- 'e.
FI F.
!c 7a 3o 7a ,fa a a l=. ,,tr.- "a-, {t
\, \,
a\al,\a
\, \, \, a\a
.a \, o
\, I,.\,r-'
-- - E.t s - E? E-l--
-
-
- -- -.i
!l -
I

-FDA+ .-
 rnT rh;
3 4 3 Ll 7 *'l
[{- .t: =r rr,+
: L 4 ,.t3 -ril
lI-I-l ..3-
/^\ r}
{e{r ','-,)
- ,_"\. \,- o_\. l=\, rL4.
,fr\=
i
'i,3.8
*-l--r!-ra

WN
3 .4 3 \A r*-t
F
aF
'?),
1r o.-.,{-
F
2Sr
.' iat" - o
/7o a
ao
-L
a
'.ra o oo
o i.'
4
E=== :--
I
:=
'g: ' 'J. . L, -
k;.1

-ra Li
F-
, ,
- -* - --
o -

() ,Z-Ir--l
{- c + 4 C :-)

grrA ?Lus
3-<
F
7
--*: -\-
l=-
5 A*-4/4 €fr:
J
e C
-\, i\,
I
i
.-"
o
a i,
- -
-- I
:
-t
I

Xtt
Lr/ ()al
// 'l 7' 'z
-*7 i

3 L-

sss+s+-\+
,.=ns2==!2
.\r;: \r,
\.. !
_.-
-- -t hl!
 /l,,'! L/) t Z \.1 -r-1 g t 7, \1 / 7.)'
I
rF# |
{-r [,'t' F -- ; ,=E F
Oir+ ,,-.\
F

,f ,ffi ,;ll ,il

', !g{,, .e =a, \., =.-ai \.t
V r -\'r : \t
o*- \a
a
r
-: ! * r O
- -tE
'tt --
- II ti

it
,l 7 /l :
F
/\
';'
t_
L
/t 7F 7
/r 2-'
2 D
F
-\ ') F' l=- ,
F ,+
F
1t o =a\o a\ a 'i.t =.\'
a !_ r ,\
l _r'r r o
-
I
-
.*-::=<:*_
i-

;;*aa--"_-
-8
A
,l/t
7
,/ -'1 7- --4 3 -t 3 -4 3
,+ e-eF
F
Ca'\e
I F ts
oi .
\, \, .! \,
vo t-
:\ro -\c, r .\--ta taa
a--r---a
-.: _-- -a- .?
: . - r
l-l- t-l-r

- -

D L4
D E

-s.46r 'fsAA Doulll

 F-
I,'Ury:: OOaaI1}Ol}O.)aO
oo.}aoooaoooo
+a+aaaa+aa<}a
--- - -
l}ae.}oooeoaoo - aao._
----
aaa.''
---E
a+aa+aoa : a_ a+oaoaa+(}<)+
ooe aaae e :ao---- a aooooe aooa

g
'_----F ---E

Rfr
bl *.-

-- O ,)O,}aOO.)O o oooooto+oto oe oaa

:ioo.i.;
eee ol}+
-- - t -
aaaroa'ooo.}o.}.}l}
--- aar aa aoe .}oooao
---- aa+ :a(}a - :o(}lD
----

4
a, _---
-E-
eee eee
+e+ ===
o-e
I

I
-.e e
16 I

+4 ,E---
)+++ +oo+++o+ + +a+++o+o+++:
\
E A
---- .<}+a.++++.<} ++a.+<}+a.a.++a.+
l}++.<>
---- att{}ooaa, ----
---- - -- at<}(} ----
oeototaoaaaa
Ot}OOl.OaOOOOoo --- -
tt6OOa+tOOOaOt:
----- ry:= ,. .:o

V
-

+<}++
--
++++t+t+
-
-- aaOaa+<D. -
++t++1+."+++i.
-- -- --
.)a+aa+l}aaa++r --
+ZA ,i i*
4.l a, a, '------
+l}a.)
: ,
a
I
a)
4 ,*, ',oa
rO+
.) 1 + :ll<+

tr3f,
$
--7
4 z-z
)) 4
F. FF
,/ lf- F s.F :Fs-
oc aJ. .. a
oa a. .?
.\t ,\'
iro.).: lte
. a
a\.a\ a'- a
.a
\a aa
r-t
i'a\a
--l_-----
_ - -.ri ---
.rli I

--

>
-4?
 4a 4.7 \r 1? 4 j IZ 4 L
F F iFtFF F
Aa
a
o a oaaoaa 'tsFr
:ie o. .r. -
\a a a '\a\'r\o\tr '!a =tlD a'\a )'o
a\a a\a tl':a
_. I _-E-ai=h= _ i-----_ l
*
:l:r :i:r
-t
-=

L\' (Tempo
Moderat<l I)
Ll €---":-''
:i--*#i:s.'*'
,--------------
$i..:j- \rvrttl'v
-Y-

,f
i

A Cl
I

\
aao lio' ' ot, ,--------+ra
a, o
a i. o, o' =o'
a
ot'
==ruoo
e +
PX LY ox
DlFftResT
4 I'A ,,,-!

io.
oa

- r
o. o) 'io 'aa
., o. 4
o.,
\\

=
.---4-

s+
= o3--/
l''., 5,,3,fr
=er

'i

-T- -t
.--.
.ia

, o o o'1 t o , a o e 1c t a.i' , o. - - o
o 1o'-o_1 ()
i,oil
a
a
- a- =.i. a
a a-
ta - 1l:
a. __(t
tl
-' -- -
-- (lli'ftiL ll): thilhntgl -- -+>
6
Pirk. 1'ac-yun
199-5. lO. 21. Sirtuxlay

4g-
To optimalise the layout of this music score
this page has been left blank intentionally