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



Luys Milan


Foreword
Luis de Milán's 1536 work "El Maestro", (the teacher) is said to belong together with the Petrucci lutenists and Capirola to a "transitional"
style, that bridge the few available late 15th century lute works with the later (ca. 1530's) more contrapuntal ones. Casteliono, (1536),
displays a more advanced style of fantasia making. (Made by professional players in contrast to Milán's self-admitted autodidactic amateur
status. Said to have travelled in Italy, Milán worked at the court of Germaine de Foix until 1538, with direct ties to the Spanish possessions
in Naples. His book abounds in italianate music. He includes pieces of Italian origin, and was without doubt influenced by an Italian style.
At the same time, he has a distinct, personal and almost archaic sound. Also note his rhythmic playfullness and the hexachord modes, so
typical in Renaissance music, which often sound strange to our ears.
That this book suddenly appeared in 1536 without antecessors in Spain, displaying an already relatively "mature" style is seen by some as
proof, that he had learned and borrowed from the existing Italian lute tradition. Also his surname indicates Italian family-roots. When the
monopoly on printing ended in 1536, there was a deluge of lute book publishing, (see Brown). Milán displays an elusory charm in his
music. Chords and runs are brought together in an earthy, perhaps more emotional than learned way. His use of triple time is nearly
exclusive among vihuelists.
Working from the facsimile, obvious misprints and errors have been silently corrected. When you spot the ones that slipped me by, kindly
drop me a mail, so I can correct them. Some of the fantasias are not easy, but with industrious work those should also be manageable. In
some places, the fingerings could be simplified, to play an open string instead of a held one, but here I've consistently kept Milán's original
ones.
Goran Crona
e-mail: [email protected]
Table of Contents
_______________
1 - Fantasia del primero tono 26 - Pavana del septimo y octavo tono
2 - Fantasia del primero tono 27 - Pavana del octavo tono "Qua la bella francesquina"!!
3 - Fantasia del primero tono 28 - Pavana del octavo tono
4 - Fantasia del segundo tono 29 - Fantasia del primero tono
5 - Fantasia del segundo tono 30 - Fantasia del segundo tono
6 - Fantasia de tono mixto, primero y segundo 31 - Fantasia de tono mixto, primero y segundo
7 - Fantasia del tercero tono 32 - Fantasia del tercero y quarto tono
8 - Fantasia del quarto tono 33 - Fantasia del tercero tono
9 - Fantasia de tono mixto, tercero y quarto 34 - Fantasia del quarto tono
10 - Fantasia del primero y segundo tono 35 - Fantasia de tono mixto, tercero y quarto
11 - Fantasia del primero y segundo tono 36 - Fantasia de tono mixto, tercero y quarto
12 - Fantasia del tercero y quarto tono 37 - Fantasia del sexto tono
13 - Fantasia del primero tono 38 - Fantasia del sexto tono
14 - Fantasia del quarto y tercero tono 39 - Fantasia del sexto tono
15 - Fantasia del quinto y sexto tono 40 - Tentos del primero y segundo tono
16 - Fantasia del quinto y sexto tono 41 - Tentos del tercero y quarto tono
17 - Fantasia del quinto y sexto tono 42 - Tentos del quinto y sexto tono
18 - Fantasia del septimo y octavo tono 43 - Tentos del septimo y octavo tono
19 - Fantasia del quinto tono 44 - Fantasia del septimo tono
20 - Fantasia del sexto tono 45 - Fantasia del octavo tono
21 - Fantasia del septimo tono 46 - Fantasia de tono mixto, septimo y octavo
22 - Fantasia del octavo tono 47 - Fantasia de tono mixto, septimo y octavo
23 - Pavana del primero y segundo tono 48 - Fantasia del sexto tono
24 - Pavana del tercero y quarto tono 49 - Fantasia del septimo y octavo tono
25 - Pavana del quinto y sexto tono 50 - Fantasia del septimo y octavo tono
Fantasia del primero tono 
              
            
                
              
             
     
              
19
             
              
                 
       


            
37
              
            
           
       
      
  
                
55
          
             
               
         
     
  
       
73
    
                          
               
           
         
 
Fantasia del primero tono 
         

   
           
             
2           

           
17
             
              
           
    
  

             
33
            
           
         
          
     
             
49
      
            
              
         
        
 
      
65
                   
        
             
           
       
            

81
           
              
               
        
         
   
El Maestro : p. 2
Fantasia del primero tono
      
        
              
                 
2           
   
           
20
            
               
                
        
            
   
       
40
       
             
              
        
    

             
56
     
               
               
              
  
                  
75
              
                  
             
            
        
  
              
98
       
               
            
            
         
  
El Maestro : p. 3
Fantasia del segundo tono
  
      
         
               
2            
          
  
    
14
   
           
                      
        
    
 
        
26
     
              
            
             
       

     
40
       
            
             
       
     
 
    
51
     
               
               
         
        
 
   
64
      
            
             
      
          
  
El Maestro : p. 4
Fantasia del segundo tono
         
              
                      
             
2                 
       
           
19
     
            
                  
             
         
  
        
39
     
                
               
            
         
  
           
58
     
             
                   
           
        
    
    
77
   
                  
             
          
          
  
           
95
            
              
                     
          
              
       
El Maestro : p. 5
Fantasia de tono mixto, primero y segundo
            
         
         
        
2    
     

            
17
        
           
            
           
    
 
         
33
       
          
       
      
     
   
         
48
         
             
               
            
        
 
    
64
      
        
              
       
         
   
    
80
           
          
           
         
   

El Maestro : p. 6
            
97
                     
       
                      
                  
    
          
113
                   
           
              
            
    
     
127
          
                   
               
        
        
     
   
142
      
             
          
        
          
     
El Maestro : p. 7
Fantasia del tercero tono
     
          
         
                 
2           
           
 
       
17
        
          
                
             
     

        
33
           
             
            
         
         
  
          
49
              
          
                 
          
   
         
65
     
                   
                
          
       

          
81
             
           
               
           
    
      
El Maestro : p. 8
     
97
           
                
           
       
    

    
111
         
               
              
       
     
 
El Maestro : p. 9
Fantasia del quarto tono
                
      
                
                           
2                
         
          
19
         
              
                 
              
         
 
         
35
        
               
                    
               
     

         
53
           
            
                
           
         
 
              
73
             
             
                
        
     

       
90
           
                 
              
           
         
 
El Maestro : p. 10
Fantasia de tono mixto, tercero y quarto 
      
            
               
            
2            
     
           
17
      
             
             
          
          
  
             
33
      
                  
             
        
      
 
      
49
       
         
        
       
       
           
65
             
     
               
         
        

    
81
        
                 
              
         
   
    
El Maestro : p. 11
           
97
                      
                      
                 
                  
      
        
113
     
             
                
              
           
    
        
129
        
                
          
            
           
   
El Maestro : p. 12
Fantasia del primero y segundo tono 
            
    
          
              
2          
      
     
          
16
        
           
             
       
  

      
30
         
              
                 
           
   

        
43
          
                   
            
    
        
  
                
55
   
          
       
        
     
 
       
66
         
        
          
       
      
 
El Maestro : p. 13
Fantasia del primero y segundo tono 
        
   
              
       
2     
    
  
          
14
              
           
        
     
   

        
28
            
            
       
      
    
        
41
        
           
         
    
 
 
            
53
        
            
         
       
  

        
66
   
           
          
         
         
      
El Maestro : p. 14
          
81
        
                
               
        
      
        
96
              
                  
                
           
       

         
111
                
                 
                
             
      

El Maestro : p. 15
Fantasia del tercero y quarto tono
               
             
            
           
2             
       
  
      
15
    
                
             
     
           

             
26
 
         
             
      
 

          
37
    
           
      
       
      

     
51
    
        
           
         
    
 
           
66
           
             
          
    
   

El Maestro : p. 16
               
81
                 
           
              
        
           

El Maestro : p. 17
Fantasia del primero tono
          
      
       
         
2       
               
      
       
12
  
     
        
            
                 
   
          
22
   
        
                
         
          
  
      
34
  
     
         
        
    
     
         
44

    
     
                 
                 
     
         
54
    
            
            
                    
        
      
El Maestro : p. 18
Fantasia del quarto y tercero tono
                 
       
             
        
2     
       

                  
12
        
          
             
           
               
   
       
24
       
        
                 
            
       
         
            
34
           
           
                 
             
         
  
El Maestro : p. 19
Fantasia del quinto y sexto tono 
        
         
                
           
2               
        
   
       
11
             
                   
             
         
   
 
      
21
         
          
       
     

 
       
31
       
           
             
                
        
    
                    
43
        
               
               
        
  
 
          
55
        
             
           
         
     

El Maestro : p. 20
            
66
                   
              
             
                

   
           
80
    
         
         
        
    

                          
89
                
          
         
     
  
 
                              
104
              
        
     
          
  
     
116
   
              
                  
2          
         
 
         
126
             
               
            
           
       
 
El Maestro : p. 21
Fantasia del quinto y sexto tono
      
   
    
      
2            
   

      
12
         
          
       
          
     
  
  
23
           
         
     
         
     
             
32
     
       
      
         
      
   
      
43
             
            
          
             
    
  
          
56
      
                 
            
       
     

El Maestro : p. 22
                   
67
        
            
     
       

                       
78
                            
         
       
    
      

         
89
                 
               
            
              
      
   
El Maestro : p. 23
Fantasia del quinto y sexto tono
          
         
          
               
2  
           
       
     
              
13
          
                   
             
          
    
   
                   
25
        
          
              
          
   
       
37
   
           
         
       
     

              
46
               
           
     
     
    
 
         
59
                    
       
       
       
     
 
El Maestro : p. 24
       
72
   
            
                
              
   

                     
80
                                
               
           
        
     
 
El Maestro : p. 25
Fantasia del septimo y octavo tono 
      
            
                
             
2        
     
  
      
11
      
             
          
    
   

           
21
       
       
    
        
   
 
              
31
           
              
                 
          
   

     
41
          
                
             
         
  

            
50
      
         
       
         
   
  
El Maestro : p. 26
                
60
                 
                
                    
         
   
 
                          
70
         
            
         
       
  
   
       
82
        
          
        
         
       
   
      
91
       
         
           
      
    

           
100
                      
                   
                
             
       
   
El Maestro : p. 27
Fantasia del quinto tono 
            
         
              
           
2       
    
      
13
                    
                  
             
      
  
           
25
             
                      
       
         
     

     
37
             
             
              
          
        

        
49
            
              
              
        
    
 
    
61
     
          
              
                
    
 
El Maestro : p. 28
    
73
                    
                    
             
              
     
        
85
            
                   
        
           
 

         
97
             
                  
         
        3
    
 
                    
110
   
          
     
         2    
     

             
120
   
        
                
       3 
  
              
131
                    
        
          
 2    
 
El Maestro : p. 29
     
141
              
           
             
         
     

      
151
       
            
            
   3         
        
   
   
162
            
                 
              
               
         
  
    
174
              
                 
                
             
       
 
         
186
         
               
                 
            

      
  
    
198
             
                   
                    
           
             

El Maestro : p. 30
Fantasia del sexto tono 
             
          
        
         
2      
  
              
14
      
         
         
         
     
 
      
27
          
       
                  
                
     

                    
40
             
           
             
         
 

        
53
                        
                  
               
          
    
 
            
66
                             
                 
          
        
       
  
El Maestro : p. 31
          
79
              
              
        
         
     

            
92
         
                   
       
                
      
  
               
105
        
                 
              
        3        
           
   
       
118
                   
                     
               
              
    
        
128
                   
        
               
         2          
       
 
      
142
         
       
                    
            
      
  
El Maestro : p. 32
          
155
                     
                  
            
               
          
                             
169
          
               
                
   3      
   

                                      
184
                    
          
           
           
    
      
196
              
              
       
2       
    
 
               
205
                     
           
             
         
    
 
El Maestro : p. 33
Fantasia del septimo tono 
           
      
        
        
2    
  
     
14
                    
                   
               
          
     
 
        
27
         
              
                     
    
            
  
            
40
            
               
              
         
        
 
            
53
           
                  
            
            


  
66
              
                 
                 
           
          

El Maestro : p. 34
           
79
            
                
               
           
   
  
    
92
                    
            
       
        
   
    
105
       
                 
              
     
        
    
    
118
                    
             
      
     
  

    
128
                
          
            
    3  
       
     
137
              
                   
              
             
    
  
El Maestro : p. 35
Fantasia del octavo tono 
            
              
          
          
2        
    
               
14
                   
              
        
       
                
29
         
          
            
            
  
  
       
44
          
           
            
        
   
         
60
      
            
            
            
         

         
74
         
             
        
         
 
El Maestro : p. 36
      
87
                  
               
              
           
         
 
          
104
        
        
                  
          

 
         
119
             
                  
           
           
         

        
135
            
            
               
         
   
       
148
         
              
            
           
     

      
163
                    
                      
                    
              
     
    
El Maestro : p. 37
Pavana del primero y segundo tono
      

    
                   
                 
2             
         
    
    
13
        
               
            
          
       

        
24
            
              
         
             
        
 
     
36
      
              
               
            
           
  
    

46
   
                   
               
              
            

El Maestro : p. 38
Pavana del tercero y quarto tono 
        
   
                       
          
2              
          
 
         
12
          
                     
                
    
     
    
23
        
            
               
              
    
   
     
34
               
                  
           
          
   
 
    
46
                   
                
              
            
    

      
58
    
                        
               
             
                 
    
El Maestro : p. 39
Pavana del quinto y sexto tono 
        
             
                    
                  
2            
         
      
     
15
                     
                   
         
               
        

    
29
                   
                   
               
         
 
 
     
43
      
                
              
               
       
  
       
57
                   
                     
                 
         
     
  
       
71
         
                 
                  
                  
               
    
El Maestro : p. 40
Pavana del septimo y octavo tono 
     
              
       
          
2        
 
      
13
                  
                  
                 
          
    
 
           
26
         
                 
              
           
       
  
      
38
                
                   
                   
       
  
 
    
49
       
                         
           
            
       
 
El Maestro : p. 41
Pavana del octavo tono "Qua la bella francesquina" 
   
         
              
          
2      
       

   
12
         
               
        
         
   
 
    
22
          
          
       
    
     
       
32
           
                 
          
       
    
El Maestro : p. 42
Pavana del octavo tono 
   
        
               
            
3      
   
 
    
6
           
           
      
         
     

   
12
     
              
            
     
      

  
18
       
              
                 
        
          
El Maestro : p. 43
Fantasia del primero tono 
              

              
                   
      
2      
    
     
15
        
                
           
             
 
 
                   
29
      
         
               
      
           
 
                
43
       
             
                   
          
     
       
                
57
             
          
               
               
              

                    
71
               
      
             
             
       
  
El Maestro : p. 44
                     
85
            
        
         
            
   
  
       
98
         
           
       
            
    

             
111
              
         
             
     
     
 
         
126
       
          
          
               
            

         
140
              
              
      
            
     
  
            
153
         
          
           
                    
      
 
El Maestro : p. 45
                
168
          
           
                
            
          
 
            
182
          
          
               
           
         

        

195
          
            
         
            
     
El Maestro : p. 46
Fantasia del segundo tono 
        
                   
              
    
2 
 
      
14
   
     
         
               
         
 
         
27
         
             
     
   
    

        
39
               
                   
            
      
 
            
51
      
                
        
             
  
  
               
65
            
           
        
        
      
 
El Maestro : p. 47
     
78
              
              
           
      
     

        
95
        
           
        
                
   

       
107
                
              
             
             
  

       
122
            
               
        
         
         
     
137
                  
                  
            
             
           
    
     
150
             
               
                
          
      
  
El Maestro : p. 48
     
163
                 
                    
              
           
            

       
177
                  
              
        
        
        
  
      
187
        
              
             
               
          
   
El Maestro : p. 49
Fantasia de tono mixto, primero y segundo 
        
       
         
  
2   

         
11
    
    
       
      
        

          
21
                   
         
       
                    
       
   
        
31
          
           
      
     
  
 
41
               
           
          
                
         
 
    
50
                     
                      
              
        
        
  
El Maestro : p. 50
     
61
              
           
              
         
  
      
71
            
           
             
          
    
 
                
81
                
           
           
       
    

      
91
                          
                  
          
        
      
 
         
101
           
               
             
        
    
      
109
      
          
            
         
       
 
El Maestro : p. 51
                            
121
      
                             
            

                          
129
  
        
          
              
           
                          
136
                         
      
               
     
    
 
  
143
                
               
           
            
         
    
El Maestro : p. 52
Fantasia del tercero y quarto tono 
           
                    
                    
            
2           
    
                 
14
                
                 
                  
            
  
   
                 
27
                   
              
              
              
         
 
         
40
             
                   
                   
        
   

        
51
           
    
          
        
    
  
             
61
         
          
                
       
 
     
El Maestro : p. 53
        
73
                   
                     
          
     
   
  
          
85
                      
               
          
         
    
  
     
96
              
               
                  
        
   

            
107
          
              
               
      
   
 
  
117
                   
               
                
         
     
    
126
                             
                       
               
              
         
 
El Maestro : p. 54
Fantasia del tercero tono
            
        
   
                
2      
  
             
13
               
      
               
        
  
              
25
                             
        
    
       
     
  
             
37
        
                 
                  
             
       
  
               
49
                  
                    
           
              
      
      
       
61
            
           
            
           
      
 
El Maestro : p. 55
              
73
                          
                 
     
       
  

              
85
        
       
          
         
         
   
           
97
       
          
            
         
     
 
         
109
       
          
           
         
    
 
            
120
      
            
        
      
   
    
133
         
                   
                
        
           
 
El Maestro : p. 56
            
145
    
         
          
          
   
 
                
157
           
             
          
           
    

       
169
               
            
            
         
       
 
              
181
                  
              
                       
          
      
           
195
                     
                 
                 
             
       
 
          
210
                       
                      
                   
                  
     
 
El Maestro : p. 57
Fantasia del quarto tono 
         
              
         
         
2         

               
14
     
         
             
      
    
       
27
          
           
          
             
      
         
40
                     
              
              
                
 
                
53
         
                    
                
             
         
   
           
66
            
       
               
            
      
 
El Maestro : p. 58
             
79
           
      
         
     
          
92
           
         
             
               
    
         
105
                
             
                 
                 
   
 
       
118
       
                   
              
             
  
    
131
                       
                     
                     
           3       
  

      
144
      
            
                 
      2      
      
El Maestro : p. 59
    
157
  
     
         
                    
   
    
170
        
            
             
    

     
183
  
      
         
                           
   
       
196
         
                  
                   
   3             
          

                   
209
          
                 
               
      
       
  
     
222
        
              
                   
            
       
 
El Maestro : p. 60
Fantasia de tono mixto, tercero y quarto
                
   
         
       
2       
 
                
13
   
          
        
       
 
          
25
     
        
               
                  
     
             
37
                
            
            
       

         
49
             
       
      
       
   
 
               
59
        
        
        
     
   

El Maestro : p. 61
          
72
                   
                 
            
              
     
   
             
85
              
              
           
          
      
 
       
97
              
           
             
       
      
 
        
109
                      
               
              
            
  
  
            
121
        
             
                  
               
     
 
              
133
                      
           
             
            
       

El Maestro : p. 62
               
145
          
          
              
       
     
 
              
157
           
          
          
      
    
 
                
169
          
           
              
         
     
 
     
182
                
              
           
             
    
   
         
197
           
        
           
     
        
          
207
          
                   
                    
                  
           
    
El Maestro : p. 63
Fantasia de tono mixto, tercero y quarto
           

           
            
2           
      
         
13
   
         
           
                  
  
      
25
     
                 
                   
        
   
        
37
       
               
              
          
      
48
     
               
                   
            
        
    
    
62
      
            
                  
         
     
 
El Maestro : p. 64
                             
76
                  
     
         
3       
                                      
87
      
               
          
          
  
                   
101
              
           
                
     2       
 
          
112
       
          
                 
                 

            
125
                      
             
           
      

       
138
  
     
               
           
    

El Maestro : p. 65
      
149
       
          
                
       3    
 

            
160
           
               
                  
                
 
       
170
       
             
              
              
         

      
180
         
             
               
           2
     

   
189
           
            
                 
               
         
 
     
202
           
              
             
              
          
      
El Maestro : p. 66
Fantasia del sexto tono
           
        
           
     
2              
   

         
19
  
         
             
            
     

        
37
                    
              
          
         
    

              
55
      
                        
       
  
               
73
           
     
        
           
       
             
91
        
                  
             
         
       
El Maestro : p. 67
      
109
          
         
      
           
      
 
              
127
              
          
          
    
   
      
145
               
           
            
          
    
   
       
163
             
                
           
        
      
   
     
181
           
           
              
     
   
       
199
            
              
     
          
   

El Maestro : p. 68
     
217
       
         
           
       
      
 
     
235
               
          
             
            
      
            
253
                
                
         
    
          
271
       
             
               
             
       
  
    
289
       
          
              
           
       
   
   
308
           
          
          
       
     
  
El Maestro : p. 69
Fantasia del sexto tono
         
         
           
              
2               
       
   
      
19
           
             
                
                  
    

     
34
              
           
   
     
   
               
46
            
                 
            
             
     

               
60
              
                
          
             
   
            
75
                  
               
                
            
   
El Maestro : p. 70
             
90
                
                 
            
      3     
     
 
            
103
           
        
         
           
    

         
115
            
             
         
           
   
               
127
             
              
            
   2           

 
           
144
                     
                 
              
             
        
  
        
159
        
                
             
         
    
 
El Maestro : p. 71
                      
175
              
             
        
       3
  
 
                                             
191
     
     
       
          
  
                              
208
            
                  
        
           
      
                          
223
              
          
                
         
    

El Maestro : p. 72
Fantasia del sexto tono 
             
       
         
         
2             
  
              
18
      
    
         
             
    
    
            
35
                     
                     
       
      
  
 
        
52
                   
                 
                 
              
   

         
69
                
                
            
             
 
       
89
          
             
         
                  
        

El Maestro : p. 73
        
109
              
              
       
             
      

      
130
           
              
               
        
           
 
             
150
          
                 
            
             
   

      
168
                     
                 
             
            
      
  
           
189
                   
            
         
             
     
  
        

208
                    
                
               
          
        
    
El Maestro : p. 74
Tentos del primero y segundo tono 
           

                 
                    
                       
2 


 

 


 

 



 

 
      
17
           
                  
               
               
          
  
      
32
              
                  
          
               
           
  
        
45
                        
                     
           
       
     
     
       
59
           
                     
                    
          
        
 
        
74
            
                
                      
               
    

El Maestro : p. 75
       
87
               
        
                            
        
   
      
98
          
             
                
         
        
 
             
111
           
            
    
        
    
   
             
125
             
            
           
         
       
        
140
           
                  
                  
          
     
  
         
156
       
                                
      

 
  
El Maestro : p. 76
          
167
             
                
                  
         
          
  
          
182
            
                      
                   
               
        
  
         
202
             
                     
                
       
  

     
213
             
                   
                
             
          
   
      
226
             
                  
               
            
          
  
        

239
              
                   
             
            
            
   
El Maestro : p. 77
Tentos del tercero y quarto tono 
  
       
          
             
2           
   

      
13
       
              
                       
              
  

                
24
        
                 
                     
       
 
      
34
            
         
                
         

          
46
         
           
                      
          


        
57
  
    
           
                    
      
El Maestro : p. 78
      
67
    
             
          
           
   
 
    
78
         
                
         
        
   
  
       
89
       
             
                          
         
    
   
        
101
      
       
                 
          
     
   
     
112
            
          
                   
       
   
  
       
121
 
                  
                 
           
      
  
El Maestro : p. 79
    
133
 
 
      
           
         
 
          
142
        
              
           
         
    

    
152
          
               
                
                
      
 
    
163
        
          
             
           
       
 
       
175
             
        
              
        

     
186
             
     
           
      

 
El Maestro : p. 80
Tentos del quinto y sexto tono 
        
           
             
                 
2                   
       
  
       
14
       
          
        
             
          
   
            
26
         
            
           
              
      
  
         
38
             
          
            
            
  

       
47
          
              
              
                  
         
   
         
62
                
     
                
             
    
El Maestro : p. 81
       
71
   
            
            
     
 
       
82
          
            
          
           
    
  
 
92
         
                
          
                        
            
   
         
107
         
                  
             
        
    
 
              
120
   
     
          
                    
       

            
132
      
   
         
                 
      

El Maestro : p. 82
           
143
           
                
             
           
   
  
           
153
  
              
                     
              
 
            
162
                 
                 
          
                
      
  
    
173
                 
             
      
         
  
  
      
182
                    
              
         
         
    
  
      
192
                   
                  
           
             
      
  
El Maestro : p. 83
Tentos del septimo y octavo tono 
    
        
                  
      
2        
  
 
          
12
     
        
                      
          
   

       
23
      
             
                         
     
      

       
34
            
           
          
       
       
   
      
45
            
                         
         
    
    
 
     
56
         
            
                     
            
        
El Maestro : p. 84
         
67
            
                   
                 
       
  

          
78
       
           
            
                
          
 
      
90
   
       
        
      
      
   
     
101
          
                
              
           
       
    
           
113
            
                
                   
        
   
 
             
123
            
                           
           
      
  

El Maestro : p. 85
      
133
           
                
          
      
 

        
143
     
         
               
        
    
   
          
155
            
              
         
           
     
  
     
166
     
                    
              
        
         
 
       
178
          
               
             
             
          
    
           
192
     
                    
                
            
            
   
El Maestro : p. 86
Fantasia del septimo tono 
           
          
               
            
2           
       
    
          
13
           
          
               
               
 

           
26
                 
            
         
           
 

              
40
     
        
                  
              
      
 
   
54
              
           
                
            3 
 
 
                    
64
            
             
               
         
  
El Maestro : p. 87
            
76
            
        
                   
               
       
    
       
86
                
                  
                  
            2   
  
  
        
96
          
             
              
          
  
 
           
110
          
            
          
          
         
122
              
               
             
           
     
  
           
137
        
         
          
       

El Maestro : p. 88
       
149
           
              
            
              
               
162
            
                
               
            
          
   
El Maestro : p. 89
Fantasia del octavo tono
            
                
      
           
2            
         
13
            
                   
             
        
     
         
25
               
           
                  
         
     
            
37
        
         
       
        
     
        
49
         
     
           
    
    
                                
60
        
               
            
3       
  
El Maestro : p. 90
                   
74
            
                 
    
 2    
  
          
86
             
          
                   
     
  
 
          
98
             
               
              
          
      

      
110
               
                      
                
    3          
        

      
122
             
                  
            
               
      

        
134
          
                   
                
           
     

El Maestro : p. 91
Fantasia de tono mixto, septimo y octavo 
        
                
             
               
2          
   

               
14
              
                      
          
                
    
   
               
27
     
       
           
           
       
    
            
42
      
                 
                      
                   
       

            
54
               
                          
              
          
    
                
67
               
                   
              
      

El Maestro : p. 92
          
80
               
          
             
          
    
 
          
93
            
           
          
            
     
 
            
106
                
             
              
        
        

      
119
             
                  
             
     3       
       
 
                
132
            
            
       
            
     
 
       
144
       
             
          
       2 
       
 
El Maestro : p. 93
                   
154
              
               
         
            
     
     
                    
169
           
             
           
           
    
    
                
183
                    
                          
             
             
       
    
El Maestro : p. 94
Fantasia de tono mixto, septimo y octavo
           
           
          
         
2             
  
 
          
13
            
           
              
           
     

           
25
      
      
             
        
  
            
37
               
                 
             
           
  
 
    
49
           
       
              
        


         
61
       
             
             
           
    
 
El Maestro : p. 95
          
73
              
                  
             
           
     
   
                 
85
               
                        
               
              
     
    
El Maestro : p. 96
Fantasia del sexto tono 
          
           
         
          
2        
    
 
         
13
             
        
      
      
  
 
           
25
        
             
      
        

        
37
                        
                 
            
        
   
  
         
49
                
                 
            
       
   

         
61
         
                
           
     

El Maestro : p. 97
     
73
         
      
            
         
    
 
  
85
       
         
     
       
  

         
97
          
                
                    
       
 
   
                        
109
            
                  
        
     
       
 
  
121
             
            
           
              
       
   
          
133
             
           
         
    
 

El Maestro : p. 98
                
145
                
                   
            
          
           
          
158
              
                 
             
              
            
    
        
172
   
          
             
          
       
  
   
185
       
             
                   
            
       

             
198
                  
              
                  
            
       
   
         
212
                
                 
               
           
      
  
El Maestro : p. 99
Fantasia del septimo y octavo tono 
             
     
        
      
2        
      
  
            
14
     
            
           
         
    
       
27
            
               
              
            
         

            
40
    
           
          
           
      
   
          
53
           
            
             
         
    

         
66
        
                
            
           
        
    
El Maestro : p. 100
      
79
            
          
       
      
      

        
93
          
          
    
    

  
     
105
           
         
         
          
         
  
            
117
              
          
      
    
  

            
127
             
                   
              
     
    
  
            
142
            
        
              
               
    
El Maestro : p. 101
           
155
           
          
           
          
         
  
        
170
   
         
          
        
        

           
182
     
              
           
           
        
     
El Maestro : p. 102
Fantasia del septimo y octavo tono
         

          
                  
   
2  
 
            
13
   
              
             
             
           
25
                     
                
       
         
    

     
37
            
             
            
     
   
 
         
49
                  
                  
          
   
  
         
60
      
        
             
          
        
   
El Maestro : p. 103
               
73
       
          
        
     
 
        
85
            
         
      
           
       
            
97
     
         
        
      
        
 
            
109
               
                 
          
         
    
 
       
121
          
             
          
        
       

          
136
             
           
             
3       
    
El Maestro : p. 104
      
146
           
                  
                 
          
   
 
          
158
               
           
            
          
     
         
170
             
                  
                 
             
             
   
        
182
 
        
         
2       
        
 
          
191
     
             
             
                      
      
     
  
205
 El Maestro : p. 105

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