Miguel Llobet

El Testament d'Amèlia (1878–1938)

from Canciones Populares Catalanas


Andante expresivo


V. BVII4 V.


1 4 4 2

3 1 2

         
3

  

   
4

 = D  
3

 
2 1

BV4 BV3

   4 
I.


3 2 4 2
   
1 1


3

5

       2  
   
2 2

 
4
   
3 
1

 3 
3 4 3



harm.VII
(pitch A) harm.VII
(pitch E) harm.VII
(pitch A)


BV5 VIII. VI. V.
9
  
4
 
4 4
 4
  
2

 
    12 

  12   
2


4 4

   
3 3
3
dolce 3 0 

V.



4

   1 
1 2
 
13
 
4 4 3 3

      2    
     
  
 
rall. poco

A TAB edition of this work is available.

© Bradford Werner 2018. All Rights Reserved.
Free & Premium Sheet Music & Tab: wernerguitareditions.com
Lessons, Pro Video, & Blog: thisisclassicalguitar.com 1
 El canto con harmonicos octavados

   
4

  
4 4

17 4 4 1


1

       

 0  
4
2
  
2

1 1 0 

BI5

    
1 4 1
   
21 1 0 4

  
4

    
       
2


3
 

BV4

 43   
BIII4 VI. BIII4
 3       
3 4
25
 2 
1
 1    2
  
 2 
  2
 
1


BV4 BIII4

  4   
harm.XII


29

 2  
(at pitch 8va)

 2   

4

  3 
 0  
3

1 2 3

  
1
1


0
rall.
f
Comments

• Glissandos - The acciaccatura's (glissandos with grace notes) have been replaced with glissando lines for cleanliness.
Don't over-do-it, be subtle and think of these as simple guide fingerings with just a little bit of gliss.

• Observing the rests can be very helpful to navigating the thick texture, as a rule though, focus on sustain length carefully
as to not short-change notes and always give the melody priority.

• El canto con harmonicos octavados: singing harmonics are played an octave above using the right hand i and a finger.
If you are unfamiliar with right hand harmonics simply play as regular fretted notes.

• Bar 25-end: be aware that the melody is now in the inner voice (stems down but above bass).
Keep the upper accompaniment soft, especially for bar 29.

• Observing the rests can really help with navigating the chords, just make sure to sustain for full values (or sometimes longer).

A TAB edition of this work is available.

© Bradford Werner 2018. All Rights Reserved.
Free & Premium Sheet Music & Tab: wernerguitareditions.com
Lessons, Pro Video, & Blog: thisisclassicalguitar.com 2