Estudios de Guitarra Solistas

Pre-Transcribed Studies
Welcome to COMPOSITION of the SEASON. This is the title of my

compositional work. After having studied art in the seventies I started to
write guitar music in 1994. As a self-taught composer I feel inspired by
classical and modern composing rules but I do not obey them strictly. My
pieces are subsequently pre-transcribed for guitar. They should be
musically polished to glitter like precious stones. Guitarists are invited to
transcribe my studies into playable guitar scores.
Kind regards
Nr. Titel op. Komponiert Registriert Reg.-Nr.
Clubs 1997 1997 832-762
Arithmix 2010 2010 TXu 1-733-386
1 Rubin 1,2,4,6,8,11 1994 1995 2-021-074
2 Topas 3,5,7,9,10 1995 1995 2-021-075
3 Opal 12,13,14,15,16,17 1995-96 1996 2-119-170
4 Aquamarin 18,19,20,21,22,23 1996 1996 2-119-169
5 Smaragd 24,25,26,27,28,29,30 1997 1997 2-246-987
6 Beryll 31 1997-98 1998 2-337-973
7 Onyx 32 1998 1998 2-337-970
8 Saphir 33 1998 1999 2-390-206
9 Tigerauge 34 1999 1999 2-393-140
10 Bernstein 35,36 1999 1999 2-446-560
11 Türkis 37,38 1999 1999 2-444-934
12 Hyazinth 39,40 2000 2000 2-507-426
13 Jade 41 2000 2001 2-565-950
14 Diamant 42 2001 2001 2-607-938
15 Granat 43 2002 2003 2-809-639
16 Amazonit 44 2002 2002 2-706-088
17 Achat 45 2002 2003 2-722-379
18 Nephrit 46 2002 2003 2-722-379
19 Serpentin 47 2003 2003 2-765-899
20 Lapislazuli 48 2003 2003 2-765-899
21 Karneol 49,50,51,52 2003 2003 2-787-247
22 Mondstein 53 2003 2003 2-809-639
23 Bergkristall Nr. 1 54,55,56 2003 2003 2-873-065
24 Bergkristall Nr. 2 57,58,59 2004 2004 2-908-351
25 Bergkristall Nr. 3 60 2004 2004 2-908-351
26 Bergkristall Nr. 4 61 2005 2005 3-002-415
27 Bergkristall Nr. 5 62,63 2006 2006 3-099-848
28 Bergkristall Nr. 6 64,65,66 2007-2008 2008 3-358-149
29 Bergkristall Nr. 7 67,68 2009 2009 3-432-147
30 Bergkristall Nr. 8 69,70,71 2009 2009 3-442-866
31 Epilog 72 2010 2010 3-463-787
32 73, 74 2010 2010 3-528-003
33 75 2018-2019 All Rights Reserved

Paintings and Drawings
(c) Uwe Warneke
(1970-1989)
1. My grandfather (1970) pencil drawing on paper,

23 cm x 18 cm
2. Souls (1971) pen-and-ink drawing on paper,

21 cm x 30 cm
3. H. Stoffels (copy) (1973) oils on cardboard,

70 cm x 50 cm
4. Fur Coat (copy) (1973) oils on cardboard,

80 cm x 60 cm
5. Islander (1973) red chalk on paper,

24 cm x 20 cm
6. At the window (1973) oils on cardboard,

31 cm x 24 cm
7. Sensitive (1974) pencil drawing on paper,

30 cm x 28 cm
8. Puppet on a string (1974) oils on cardboard,

40 cm x 30 cm
9. Disabled (1975) pencil drawing on paper,
32 cm x 18 cm
10. The chief (copy) (1977) black charcoal + white chalk on paper,
41 cm x 31 cm
11. The prophet (1977) pencil + white chalk on paper,

27 cm x 20 cm
12. The holy virgin (1977) pencil + white chalk on paper,

26 cm x 20 cm
13. Blue(s) (1977) red chalk on paper,

65 cm x 50 cm
14. Arabian (1977) pencil drawing on paper,

33,5 cm x 26,5 cm
15. The empty dish (1978) oils on canvas,

182 cm x 100 cm
16. Unemployed teeth (1978) black charcoal + white chalk on paper,

38 cm x 28 cm
17. Striking in (1979) black charcoal + white chalk on paper,
41 cm x 29,5 cm
18. A new christ is born (1979) oils on cardboard,

31 cm x 25 cm
19. Dark boy (1979) black charcoal on cardboard,

31,5 cm x 29,5 cm
20. Anxious (1979) pencil + white chalk on cardboard,

14 cm x 10 cm
21. Who are you? (1980) black charcoal + white chalk on paper,
61 cm x 43 cm
22. The mask of sorrow (1984) black charcoal + white chalk on paper,
41 cm x 28 cm
23. Sides of my soul (1984) oils on canvas,

80 cm x 60 cm
24. Animal's Enemy (1984) oils on canvas,

118 cm x 62 cm
25. Silk scarf I (1984) oils on canvas,
85 cm x 62 cm
26. Silk scarf II (1985) oils on canvas,

51 cm x 41 cm
27. The break (1987) oils on canvas,

41 cm x 51 cm
28. On the beach (1988) oils on cardboard,

110 cm x 70 cm
29. Who of them? (1988) gouache on hardboard,

133 cm x 88 cm
30. Couple of lovers (1988) gouache on hardboard,

about 200 cm x 80 cm,
owner: Ellen Kohlrausch, Bothel
31. Magic window (1988) oils on cardboard,

32. Japanese (1988) oils on cardboard,

33. The fitting (1988) modelling clay+material,

height: 59 cm
34. The fall of man (1989) black charcoal, red + white chalk on paper,
59 cm x 42 cm
35. Where's my heart? (1989) pencil + white chalk on paper,

27 cm x 22 cm
36. Chung (1989) pencil drawing on paper,

42 cm x 30 cm
37. Girl (1989) pencil drawing on paper,

about 25 cm x 20 cm
38. Beloved feet (1989) linoprint,

39. Telephone box (1989) linoprint,


Prolog 3. Akt
Die MediaMuse liebt den Tanz, der Sie erwachen in der RealWelt: in
SeinsVerwalter hasst ihn. Deshalb Leons Zimmer – vor dem
TVBeat
tanzen alle Wesen in der MediaWelt TVBildschirm. Die Liebenden tanzen
der MediaMuse, und es hinken alle vor Glück, während die Bürger der
Bürger in der RealWelt des Seins- RealWelt nur hinken können. Fleur
Verwalters. Die Muse und der und Leon werden beneidet und
Verwalter führen ein Streitgespräch bewundert – man spricht über sie.
darüber, ob zwei Wesen aus den Doch je bekannter sie werden, desto
Ein Ballettmärchen in 3 Akten durch einen TVBildschirm getrennten mehr entfernen sich ihre Herzen
Welten gemeinsam in einer Welt als voneinander. Während Fleur immer
Szenischer Entwurf Liebespaar glücklich werden können. hochmütiger wird, beginnt Leon an
Die Muse bejaht, der Verwalter seinem Anderssein als Tänzer unter
für verneint. Sie wetten: Gewinnt die Hinkenden zu leiden. Auf einer Party
kleines Ballettensemble Muse, darf das Liebespaar tanzen, verspricht ein MedienProduzent Fleur
2 Schauspieler verliert sie, muss das Paar hinken. eine grossartige MedienKarriere. Er
Konzertgitarrist Die ScheinMuse spricht ihren gleicht ihrem Zuhälter aus der
Schlagzeuger Zauber, der dem Liebespaar den MediaWelt bis aufs Haar. Fleur bricht
und Wechsel zwischen den Welten mit Leon und gibt sich dem
Tontechnik ermöglicht. Das Spiel beginnt. Produzenten im Glauben auf Ruhm
und Geld hin. Als Fleur einen
MedienVertrag unterschreibt, hüllt sie
TVBeat is no HeartBeat. This fairy- 1. Akt ein schwarzer Nebel ein und entführt
tale likes to paint scenically sie zurück in die MediaWelt, in der
different layers of modern media Leon sitzt in der RealWelt versunken sie wieder als Prostituierte arbeiten
perception. TV Spots zap Classical vor einem flimmernden TVBildschirm muss, weil ihr Produzent, der sich in
tunes. A battle between seriously (der SeinsVerwalter liest Leons 1. ihren Zuhälter zurückverwandelt hat,
composed measures and banal Brief). Leon schläft vor dem sie dazu zwingt. Fleur erkennt ihren
Sound Clips dances around the TVBildschirm ein und träumt einen Irrtum – zu spät: Sie hinkt an den
Golden Calf of consumers Albtraum aus unverarbeiteten me- Sandstrand – vor ruhiger Brandung -
attention. Nervous drums want to dialen Sinneseindrücken. Im unruhi- und wartet vergebens.
destroy the leisure to hear, word gen Halbschlaf zappt er sich auf
rags try to deride the occurrence to wundersame Weise durch den
feel. The synthetic ballet turns TVBildschirm in die MediaWelt. Er Epilog
round and round and trifts away erwacht auf einem Sandstrand - vor
into the empty space of dullness. ruhiger Brandung - und beginnt von Leon sitzt wieder versunken vor dem
"Houston, we have a problem". dort die neue MediaWelt hinkend zu flimmernden TVBildschirm (Der
erkunden. In einer gläsernen Disko- Seinsverwalter liest Leons 3. Brief).
(c) Uwe Warneke, 2003 thek erblickt er erstmals die Die MediaMuse hebt ihren
tanzenden Wesen dieser Welt. Zauberspruch auf, das Spiel ist
Inspiriert von ihrem Tanz beginnt entschieden: der SeinsVerwalter hat
Leon ebenfalls zu tanzen. es gewonnen. Leon schaltet das
TVGerät aus, erhebt sich und hinkt
von der leeren Bühne.
2. Akt
Personen
Berauscht von seiner neuen Bewe-
gungsgabe tanzt Leon durch
Die MediaMuse glitzernde MediaStrassen. Man Bühnenskizze
verspricht ihm, alles sei ohne Geld
Der SeinsVerwalter zu bekommen. Als er in einem Bor-
dellhof Fleur begegnet, möchte er < ------>
Fleur – aus der MediaWelt sie sogleich besitzen, weil sie
seinem sehnsüchtigen Ideal gleicht _____I H
Leon – aus der RealWelt (vgl. 1 Brief). Aber ohne MediaGeld I_____
keine Liebe. Leon wird von Fleurs
Zuhälter / Medienproduzent Zuhälter verjagt. Er flüchtet zurück SeinsVerwalter MediaMuse
(Wandler zwischen den Welten) an seinen Sandstrand – diesmal vor
lauterer Brandung - , auf welchem RealWelt MediaWelt
Wesen der MediaWelt er voll Verlangen an Fleur denkt (die
MediaMuse liest Leons 2. Brief). TVBildschirm
Bürger der RealWelt Während Leon in einen süssen
Schlaf voll heissem Begehren fällt, ______________
eilt die MediaMuse zu Fleur und
flüstert ihr Leons Zeilen ins Ohr. Gitarrist
Fleur ist durch diesen Zauber sofort Schlagzeuger
entflammt. Die MediaMuse lockt sie
an den Strand – vor tosender Bran-
dung - . Dort entfachen Leon und
Fleur ein erotisches Liebesspiel, in
welches der Zuhälter, der Fleur
heim-lich gefolgt ist, ungestüm
eindringt. Es kommt zum Kampf mit
Leon. Leon sticht auf seinen
Widersacher mit dessen Messer
ein. In diesem Moment verhüllt ein
rosa Nebel (vgl. 2. Brief) die
Liebenden vollständig.
TVbeat - a Ballet Script written by Uwe Warneke (© 2005)
Prolog
The Media Muse loves the dance, the Seinsverwalter hates it. Therefore all beings
dance in the Media World of the Media Muse and all citizens limp in the Real World of
the Seinsverwalter. The Muse and the Verwalter discuss whether two loving beings
from the worlds separated by a TV-screen can become happy as a courting couple in
one of the two worlds. The Muse accepts, the Verwalter denies. They bet: If the Muse
wins, the pair will remain together and will be allowed to dance, if she loses, the pair
will be separated and both ones will have to limp. The media muse speaks her charm
which makes alternation between the worlds possible for the courting couple. The
game starts.
First Act
Leon is sitting in the Real World in thoughts verse toad in front of a shimmering TV-
screen and thinks of Fleur he has seen in a TV-film. He has fallen in love with her
immediately. Leon falls asleep in front of the TV-screen and dreams a nightmare of raw
and erotic media impressions. In restless doze he is zapping himself on miracle sperm
kind through the TV-screen into the Media World. He awakes on a sandy beach - in
front of calm surf - and begins from there to explore limpingly the new Media World.
In a glassy dancing palace, he glimpses the dancing beings of this world for the first
time. Inspired by their manner of dancing Leon succeeds in dancing himself.
Second Act
Leon is dancing through twinkling Media streets, intoxicated by his new ability to
dance. He is promised that everything can be received for free. When meeting Fleur in
a court of a brothel, he would like to conquer her and unite himself with her
immediately. But without media money no love! Fleur's pimp chases Leon away. He
flees to a sandy beach on which he thinks of Fleur, full of desire - this time in front of
clear surf. While Leon is falling into a sweet slumber full of hot desire, the Media Muse
rushes to Fleur and whispers Leon's thoughts into her ear. Fleur is immediately roused
by these loving feelings for her. The Media Muse attracts her to the shore -in front of
roaring surf. Leon and Fleur arouse an erotic love game into which the pimp penetrates
impetously - he has followed Fleur secretly to there. A fight between Leon and the
pimp starts. Leon pierces in self-defense to his adversary with the adversary's knife.
In this moment, a pink fog veils the two lovers completely.
Third Act
The lovers awake in the Real World: in Leon's room - in front of the TV-screen. They
dance full of happiness while the citizens of the Real World can only limp. Fleur and
Leon are envied and admired - one speaks about them. But per more wellknown they
become, the more their hearts remove themselves from each other. While Fleur
becomes haughtier and haughtier, Leon begins to suffer from being a dancer in a world
of limping. On a private Party, a Media Producer promises Fleur a splendid media
career (He resembles her pimp from the media world). Fleur breakes with Leon and
gives herself away to the producer in belief on fame and money. When signing a media
contract, a black fog envelops her and kidnappes her back into the Media World in
which she has to work again as prostitute - because her producer who has reconverted
himself into her pimp forces her to do this (he is a wanderer between the worlds).
Fleur recognizes her fault - but too late: she limps to the sandy beach - before calm
surf - and waits in vain.
Epilog
Leon is sitting again verse toad in front of the shimmering TV-screen. The Media Muse
cancels her spell, the game is decided: the Seinsverwalter has won it. Leon switches
off the TV, arises and limps from the empty stage.
The Bet - between Mediamuse and SeinsVeralter
Mediamuse:
Seinsverwalter, why don't you speak with me? Do not think all time! Live to see the
moments of your life!
SeinsVerwalter (existence administrator):
This approach to life seems to me a little bit banal. Have you ever thought outside the
box? What about the following idea? - Most beings only know the fact that they were
born because one tells them. They even can't remember their first one or two years.
Without the credential of others they would think to live in shortened life. If one
existed however, without being conscious about this later, then one would have lived
with similar probability before one's birth. A consistent existence after death is also
conceivable. Our consciousness seems to provide not a scrap of evidence for our
existence.
Mediamuse:
I hear, what you conclude, and I miss, what you believe.
SeinsVerwalter:
Believe? I'm moving within the amazing borders of my apprehension.

Mediamuse:
Exactly! Your analytic intelligence controls you. Do you actually know that there are
beings capable of emotional and social intelligence?
SeinsVerwalter:
I'm afraid of these creatures. I loathe their uncontrolled outbreaks!
Mediamuse:
You combat your fear with regulation and control. In your world grey robots live,
incapable to love or help each other spontaneously, they limp past one another. In my
world the beings believe in gods of brotherly love.
SeinsVerwalter:
My beings know these gods but they had lost their belief in them. They didn't succeed
in accepting that it was never the function of these gods to avert evil and death. If
these gods had totally controlled their existence my beings would have been helpless
like puppets on a string. In reality my beings always had the power to destroy
everything selfmade destroying them, but at the end they act like sheeps driven by a
herder of consumption. Therefore I had to organize my world the way I did, because
instead of respecting each other my beings had destroyed their human responsibility
by vanity. Sometimes one being still tries to believe in love - a weak flame, going dry
soon. We limp, because masses, which move too fast, are dangerous.
Mediamuse:
And we dance to discover our self !
SeinsVerwalter:
The only thing you will discover is the conceitedness in you. No heartbeat anymore!
Your beings are driven by TVbeat. And this beat costs money, only your rich ones can
try to 'discover' this so called 'self'. The others take pictures without respite. Instead of
doing their sex job even your prostitutes often act in silly and vain private videos
published in hundreds of program channels. Your Paradies is a large brothel. What
anachronism! We however pay with mutal personal services. We live without money in
audio world, all compository tone pitch battles have been fought, we like sound colors.
Our news are spoken, TV consoles are antigues for gatherers, sometimes they watch
your so called 'films' without real interest. What is of use for us, does not remain
uncontrolled or destroyed by visual vanity. If a being of RealWorld enters MediaWorld,
it will unmask your hypocrisy. It will win you to live like us and at the end your realm
becomes mine!
Mediamuse:
Mistake! Only one of us can proselytize our world, but nobody of MediaWorld wants
that! We are proud lions in the grey age of aquarius. Quite the contrary: your intruder
will learn to love and dance and afterwards your world will change.
SeinsVerwalter:
In order to convert RealWorld, my being would have to be vain. We cannot be vain.

We always remain in our heart what we are: organized, average - passive however
peaceful.
Mediamuse:
Let us now then once open the border between our worlds and bet. My orchestra and
your sound machines should content who is best expressing our being's feelings. Yes
they feel! - You will see! If I'm right two of our different beings can live and dance as
loving couple in one of our different worlds, if you're right they will be torn apart again
and both sentenced to limp, each one in its anterior world. By the way: if I lose and
my being has to live alone again in MediaWorld it won't be able to convert it, because
... it limps! Nobody would believe in the truth an unselfish handicapped outsider
preaches.
SeinsVerwalter:
You never give up, don't you? Anyway, the bet is on! Speak your charm to open the
screen …
Clubs
GAME
3. When all 12 cards have been played, Player

a strategic card game for 2 players #1 uncovers the talon's top card. Its suit is trump
for the rest of the game. This card is put back,
(c)Uwe Warneke'98 the talon is reshuffled;
Register of Copyrights, Wash.D.C.: TX 2-123-456
4. Player #1 distributes the 20 talon cards by
Clubs is a strategic card game. You play turns. The winner of the last trick receives the
it with 32 cards of 'normal' french hand: first card. Each Player examines his hand: if he
two of yours in holidays, in a break ... has got one or more Jacks he CAN play
nearly everywhere. WINNINGS, but is not obliged to play this. Who
has'nt got any Jack HAS TO PLAY LOSS;
Have fun! Uwe Warneke
5. The winner of the last trick continues the
game as described (see 2.), - trumps may have
changed (see 3.);
PLAYERS: 2 6. If a player has one or more Jacks in his hand

CARDS: 32 and he wants to play WINNINGS he will be
(french hand: clubs, spades, hearts, diamonds) obliged to play a Jack as last card. Otherwise his
CARD's VALUES IN ORDER OF TRICKS: WINNINGS game won't be valid. A game with no
Ace, Ten, King, Queen, Jack, Nine, Eight, Seven Jack played as last card is always a LOSS
game.
GAME's OPENING SETTLEMENT
1. Player #1 shuffles the hand and distributes The players count the cards of their tricks. If
6 cards each by turns, the remaining 20 each player counts 16 cards this play will be tied.
cards are left covered behind (talon); Then both players get 0 points. A player will win
if he owns at least 18 cards ... If he has played
2. During the game's opening CLUBs are WINNINGS the number of his cards will have
always trumps. Player #2 plays his first card, been his credit. If he has played LOSS he won't
Player #1 has to follow suit by making a trick have won any point. The other way round: a
or throwing off any other card. If he can't player will lose if he owns 14 or fewer cards. If
follow suit (any more) he can make a trick he has played LOSS he will have got 18 points.
with a CLUBs card or throw off any other If he has played WINNINGS he will not have
card. The winner of the trick plays the next won any point. A game round consists of 10
card and so on; games.
© Uwe Warneke’98
4 5
Clubs
SPIEL
3. Sind alle 12 Karten ausgespielt, deckt der

ein strategisches Kartenspiel für 2 Personen Geber die oberste Karte des Talons auf. Ihre
Farbe ist nun Trumpf. Diese Karte wird
(c)Uwe Warneke'98 zurückgesteckt, der Talon neu gemischt;
Register of Copyrights, Wash.D.C.: TX 2-123-456
4. Der Geber verteilt die 20 Talonkarten ab-
Clubs ist ein strategisches Kartenspiel. wechselnd. Der Gewinner des letzten Stiches
Man spielt es mit 32 'normalen' erhält die erste Karte .Beide Spieler prüfen ihr
Spielkarten: zu zweit im Urlaub, in der Blatt: wer einen oder mehrere Buben in der
Mittagspause kurz: ... ..........fast überall. Hand hält, KANN GEWINN spielen, muss es
aber nicht. Wer keinen Buben besitzt, MUSS
VERLUST spielen;
Viel Spaß Uwe Warneke
5. Der Gewinner des letzten Stiches setzt das
Spiel wie unter 2. beschrieben fort , - u.U. hat die
Trumpffarbe gewechselt (s.3.);
SPIELER: 2
SPIELKARTEN: 32 6. Wer einen oder mehrere Buben auf der Hand
(franzoesisches Blatt: Kreuz, Pik, Herz, Karo)
KARTENWERTE IN STICHREIHENFOLGE hat und GEWINN spielt, MUSS als letzte Karte
As, Zehn, Koenig, Dame, Bube, Neun, Acht, Sieben einen Buben ausspielen, soll sein GEWINNSpiel
gültig sein. Ein Spiel, bei dem als letzte Karte
kein Bube gespielt wird, wird immer als
SPIELEROEFFNUNG VERLUSTSpiel gewertet.
1. Der Geber mischt das Blatt und verteilt ABRECHNUNG

abwechselnd je 6 Karten, die restlichen 20
Karten bleiben verdeckt liegen (Talon); Die Spieler zaehlen die Karten ihrer Stiche.
Zaehlt jeder Spieler 16 Karten, ist das Spiel
2. Während der Spieleröffnung ist immer unentschieden. Beide Spieler erhalten 0 Punkte.
KREUZ Trumpf (Kreuz = engl. Clubs). Der Es gewinnt der Spieler, der mindestens 18
Nehmer spielt seine erste Karte aus, der Karten besitzt: spielte er GEWINN, wird ihm die
Geber muss durch Unter- oder Überstich in Anzahl seiner Karten gutgeschrieben, spielte er
der ausgespielten Farbe bedienen. Hat er VERLUST, erhält er keinen Punkt. Umgekehrt:
diese Farbe nicht (mehr) auf der Hand, kann es verliert der Spieler, der 14 oder weniger
er mit KREUZ stechen oder eine andere Karten besitzt: spielte er VERLUST, gibt es stets
Farbe abwerfen. Der Stichgewinner spielt die 18 Punkte, spielte er GEWINN, keinen Punkt.
nächste Karte aus ... usw.; Eine Spielrunde besteht aus 10 Spielen.
1 2 3
CLUBSJunior
Spielanleitung
Ein Spielentwurf
© Uwe Warneke, 2001
Spieler 2
Spielkarten 32 (französisches Blatt: Kreuz, Pik, Herz, Karo)
Quartettwerte
Quartett aus: Punkte
Zehn = 10
Neun = 9
Acht = 8
Sieben = 7
König = 4
Dame = 3
Bube = 2
As = 0
Spieleröffnung
1. Der Geber mischt das Blatt und verteilt abwechselnd je 8 Karten, die
restlichen 16 Karten bleiben als Talon verdeckt liegen;
2. Jeder Spieler prüft, ob er 4 Karten von gleichem Kartenwert in der

Hand hält (4 Könige, 4 Zehner usf.). Diese Quartette muß er sofort
verdeckt vor sich auf den Tisch legen;
Spiel
3. Im weiteren Spielverlauf versuchen die Spieler durch geschicktes

Erfragen Quartette zu bilden. Der Nehmer beginnt. Er hat z.B. drei
Damen (Kreuz-, Herz- und Karo-Dame) und fragt den Geber nach
der fehlenden Pik-Dame. Hat der Geber diese Pik-Dame, wechselt
sie den Besitzer, und der Nehmer legt sein nun vollständiges
Quartett verdeckt aus. Quartette müssen sofort abgelegt werden. Er
fragt den Geber nach der nächsten Karte. Hat der Geber die Pik-
Dame nicht, muss er selbst (der Geber) die oberste Karte vom Talon
aufnehmen und in sein Blatt einordnen;
4. Danach fragt er den Nehmer nach einer Karte. Hat der Nehmer die-
se, wechselt sie den Besitzer, der Geber fragt nach der nächsten
Karte. Hat der Nehmer sie nicht, muss er (der Nehmer) die oberste
Karte vom Talon ziehen. Er fragt nun den Geber wieder nach einer
Karte. So werden abwechselnd Karten erfragt, bis einer der beiden
Spieler alle seine Karten als Quartette geordnet abgelegen kann
oder seine letzte Karte abgibt.
Bluff:
Es kann auch eine Karte angefordert werden, die im eigenen Besitz
ist oder bereits abgelegt wurde. Durch diesen Bluff zwingt man den
Gegner zu Kartenaufnahme und Gebot. Ein Bluff bei letzter
Talonkarte ist nicht erlaubt und bedeutet Spielverlust.
Abrechnung
Gewinner ist, wer als erster keine Karten mehr auf der Hand hat – egal,
wie viele Quartette beide bis dahin gebildet haben, oder wie viele Karten
noch im Talon liegen. Der Gegner darf dabei nicht seine Karten ebenfalls
im nächsten Zug vollständig ablegen können. Gelingt ihm dieses, ist die
Spielsituation zunächst unentschieden (patt). Bei Patt gewinnt der Spieler
mit der höheren Anzahl an Quartetten. Bei Patt und gleicher Anzahl von
Quartetten, entscheidet die Summe der Quartettwerte (s. oben). Ein Spiel
kann nicht unentschieden enden, weil bei gleicher Anzahl von Quartetten
(je 4) die Summe der Quartettwerte nicht identisch ist (die Gesamtsumme
der Quartettwerte (43) ist ungerade, s. oben)
Ein mögliches Endspiel:
Es sind nur noch 4 Karten im Spiel. Der Geber besitzt Kreuz- und Pik-
Bube. Der Nehmer hält den Karo-Buben in der Hand. Der Herz-Bube liegt
im Talon (Bluff-Verbot!). Wenn der Geber nach dem Karo-Buben fragt, hat
er verloren, denn der Nehmer gibt seine letzte Karte ab, ohne daß der
Geber im nächsten Zug ebenfalls rauslegen kann (der Herz-Bube liegt ja
noch im Talon). Wenn der Geber nach dem Herz-Buben fragt, muss der
Nehmer diesen vom Talon aufnehmen und nun seinerseits vom Geber den
Kreuz- und den Pik-Buben erfragen. Damit hätte der Geber keine Karte
mehr auf der Hand, aber nicht automatisch gewonnen, weil der Nehmer
im nächsten Zug auch alle seine Karten als Quartett ablegen kann. Das
Spiel ist also patt, nun zählen Anzahl der Quartette bzw. die Summe der
Quartettwerte (s.oben).
Summe
+ Zahl der Zahlen in einer Reihe, Spalte
oder Diagonalen
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im Quadrat
Zahlen von
x Zahl der Zahlen in einer Reihe, Spalte
oder Diagonalen
0 bis 9 Gleiche Zahlen

nach diesen = 2,3,4 Anzahl in einer Reihe, Spalte
4 Vorgaben: oder Diagonalen
Reihe
< >
2,3,4
Anzahl aufeinanderfolgender Zahlen
(auf- oder absteigend) in einer
Reihe, Spalte oder Diagonalen
1
KARNEOL Uwe Warneke
4 Studies for Classical Guitar
1. Moderato con anima V III op. 49

III
3 1
4 4
3 3 3
1 1 1 1 2
1 1
3 4 2 1
2 1 2
1
(6)
=80 2
I II
III
3
4 2 1
1 4
4 4
3 3
3
1
1 2
2 1
(2)
3 4 (5)
IV III I
II
1 1 1
4 4 3 1 1
4 4 1 2
3 2 3
3 3
2 2 2 3
1
1
5 6
III
4
1 1 1
2
4 1
3
2 3
7 8
KARNEOL. 4 Studies for Classical Guitar. (c) Uwe Warneke 2003. All Rights Reserved. US Copyright Office, PAU 2-787-247
2
III To Coda
4 4
1 1 4 3 1
2
2 1
4 3
1
1 3
9 10
V
III
IV I
4
4 4
4
1 2 3 1
1 4
2
1
3 2 1
3 4 2
1 1 3
1
(4) (5)
11 12
4 4
1
4 1 3 3 3
2 4 3
1
2
1
3
(4)
13 14
V
III III
3 4
4 4 4
3 2
1 2 1 4
2 2
3 3 1
(2) 2
3 1
1 1
1 1
(2)
15 16
V III
IV
1 2
4 4 1 2
2 1 2 1 4
2 1
1 3
1
3 3
17 18
3
IV
III
1 4 1 2 1 4
3
2 4 3
1 3 1
2 3
3 2 1
1
19 20
4 1
1 1
1 4 4
3 3
2
2
4
3 2
3 3
21 22
V VII
III
1
1 1 4
4 3 4
4
3 1 4
3 1 1
3 2
1
(3)
1 1
1 2
23 24
VII
4 V
4 4 1
2 2
3
3 2 1 2 2 1
1 1 3
1 1 1
1 1 3
(5)
25 26
VIII
III
3
1 2
2
2 1 3 3 1
3 1 2 1
2
3 2
1
1 1
(5) (5)
27 28
4
VIII
VI III
V
1 1
1
1 4 1
2 3 3 1
2 4 4 3 4
2 3 1 2
3 4 1
1
29 30
VII V
III
4 4
2 2 4 1
1 2
1
3 4 2
1 3
1 1 4
1 3 1
31 32
V
III
3
4
4 4
3 4 4
2 2
3 1
3 3 3
1 1 1
1 1 4
1 2
2 1
33 34 3 (5)
I II I
3 4 1 3 1
1 4 1 3
4 2 2
1
3 1 2
2 3 2 3
1 1
35 36
III
3 I
3 3 2 3
1 1
3 1 4
2 1
1 2 4 2 4
1 1
1
2 3 3 3
3 =75
37 rit. 38
5
III
4 2 4 1
2 1 4 1 4
3 3 3 3
4 3 2 4
1 1 1
1
3
39 40 3
III V VI
IV V
4 4
4 1
1 4
1
1 1 1 3 4 3
1 2
1 3 4 1 1 1
2
3 3
4
(3) (3)
3
3
41 42
VI V
3 3
3
1 1 4
3 4
3
3 1
1 2 3
2 2
2 4 2 3 4
1 1 1 3
=80
accel.
43 44 a tempo
III II
3 3 3 3
D.S. al Coda
3
1 1 3 4
3 4
1 1 2 1 1
2 1 4 2 2 2
1 2 2
1
1
Coda
45 46
III VIII
3
3 V
1
1 Fine
1
4 2
3 3 3 1
2
2 2 1 3
1 1
4 1
1 1
3
47 3
(6)
48
6
op. 50
2. Moderato con brio
2 3
1
1 1 1 1
3
=80
49 50
IV
4 3
4 1
1 2
2 3 1
1 1
2 3
51 52
IV I
II
1
2 3
1 4
1 1 2 1
3 3
4 4 4
1 4 1
1
(5)
53 54
To Coda
II
3 3
2 1
2 4
1 1 1
55 56 rit. =77 3
II II
3 I
3
4
4 4
4
1 1 1 2
2 1 1
1
3 3
3 1 4
3 2 1
1 1
57 3 58
7
VII III
4
4
2
1
4
1 1 4 1
4 4 2 2
3 3
(3) 2
3 3
1 1 3
(3) 1
(6) (6) =75

59 60
rit.
III V
I
I
4 1
1 4 1 1
3 2
3 4 2
1 2
3 3
3 1
3
2
61 62
V
III III
I
I
4
1 1
1
4 2 1 4 1
4 1 4 3 2
3 3 3 2
2 1
2 3
1 3 3
63 64
V
4 3
4 3
3
4 2
(3) (3) 1 1
1
3 3
accel.
65 a tempo 66 =80
V III
III
1 3
4 2
4 4
1 1 3 1 3 2
2 3
1 2 4 1 4
1 1
3
2
67 68
8
IV
III
rit.
1
4 4
2 1 3 1
3
3 2 4
[ 65 ]
1 2
69 70
V III
1 1
1 3 1
3 3 2 4
2
(3)
4
1 1 1
=75
71 72
III II
1 3 1
1 1
1 4
1
2 3
2 2
(4) 3 1
rit. =72 (5)
73 74
III IV V
3 3
I
1
4 2 1
4 1 1
2 2 1 1 3
3 3
1
3 3
1 3 1
1 1
(2)
(3) (5) =75
(3)
75 76
(5)
accel.
V
III I
4
2 1 2 3 1
4 2 3 2 4
4 4 2
2 2 3
3 4
1
3 3 1
3 1
accel.
77 78 a tempo =80
9
III
IV D.S. al Coda
II
4
4
1
2
1
1 1 1 4
1 2
3 1 3
2 2 3
3 3
3 1 3
79 80 Coda
IV
2
1 1
3 3
(3) (4)
1 4 1
1 2 1 4
(3)
81 82
VII
4
1
3 3
3
1 2
3
(4) 2
1 1
1 2
(6) (5)
83 84
IV
III
1 1
4 4 4
3 3 3 3 1
4
2 2 2
2
1 1 2
1 3
1
1
85 86
VI
IV V
VIII VII
Fine
4
1 4 3
1 4 3 2
1 4 4
3 1
2
2 1 1
3 1
1
1
(6)
87 88
10
3. Moderato con moto op. 51
3 4
1
2 1
1
3 3
=80
(3)
89 90 3
1 2 2 2 2 2 2
2 2 2 2 2
3 3 2
1
1 3 1
1
(5) (4)
(5) (6) (6)
(5) (5)
91 92
3 4
1 1
(3)
1
3
93 94
I
I
1
4 4 1
3 1
2 2 2 3 3 2 2
3 3 4
1 3
1 1 1 1 1 1 3
1
95 96
III
1
4
1 4 1
1 3 3
2 2
3 2
97 98
11
3
2 1
3
2
1
3
99 100
III
4
2 4
1
4
3
2
3
2
101 102
III IV V
III
4 3
3 1
1 1
2 1
3 4 1
3 3 4
2 2 3
103 104
III
3 4
1 1 1 3 3
2 3
1 2
1
1 1
2 2
1
105 106
VI III
III VI
1
2 4 1
1
1 1
1
2 1 1 1
3
1
1 1
3 1 1
(2)
107 108
12
V
II
III
1
1
1 2 2
1 4
1 1 3 1 1 3
4 2 1
3 3 2 2
3
109 110
III
I
4
1 4
4 4 1
3 3 3 2
1 2
3 3
3 2 1
1
1
1
1
111 112
V
I III IV
4
1 3 4 2
4 3 3 1 1 3
3 2 2 3 3 4
3
1 1 1
1 1
1
113 114
III
2 1
3
3 2 1
2 1 (3)
4 1 3
1
3 2 3 2
1
(5)
(5)
115 116
3 (5)
III
I
III
3
3 4
4 1
3 1
3
1 1
1 3
1 2
1 1
(4)
(5)
117 118
13
IV III
I
1
4
3 1 1 1 1 1 1 1 2 2 2 2 2 2
2 3 1
1
1 (3)
1
1 3 1
1
119 120
II
III II
2 2 2 2 2 2
1 1 1 1 1 1 1 1
3 1 1
3 3 3 3 3 3
3 3 3 3 3 3 3
1
1
121 122
II V
II
3 3 4
3
3
4 1
2
3 1 1
1 1 4
2
3
1
1
2 1 1
123 124
VII
2
1
1
3
4
1 2
4
3
1 1
1
125 126
VII
1 Fine
4
3
4
127 128
14
4. Moderato appassionato op. 52

III
IV
1
4 2 2
3
2
3
1
=80
129 130
III
4 2
1 3 3
1 4 1 4
1 3
1
2
131 132
III
III
4 2
3 1 1
1 4 4
3 3 2
4
1 1 1
1 1 2
133 134
III
I III
1
2 4
1 1 3 3 1
4 1 1 4 2
2 (3)
2 2 1 2
1 1
135 136
III IV
III
II
3 1
1 4
2
3 3 2 1
2 4 3 1
1 4
3
1 1
2 3
137 138
15
I II III
To Coda IV III
4 1
2 4 1
1 3 1 1 3
2 4 3 3 1
1
1 3
1 3
3 1
139 140
III
1
2
3 4
2
1 3
1
4 4
3
1 1 (3) 3
(4)
(6)
141 142
1 1 1
3
[1] 2
=80
143 144
4 4
3 1 1 1
1 3
3
2
3 2
1 3 1 3
2
1
145 (2)
3 (5) 146
rit. I III
II
4 1 2
3 4
1 1 1 2 1 4 3 3
4 1
2
2
3 1 1
2
3 3
=60 =65
147 148 accel.
16
III
accel. IV
a tempo
3 4
4
2 3 1
4 2 1 1 2 4
2
1 3
(3) 2
3 3 1 4
3 1
(6) (5)
=75 =80
149 =70 150
VI IV
III IV VII
2 1
4 3
1 3 3 1 1
4 4 4
2 3 1 2
4
1 1 1
1 1
1
151 152
V VI
3
3 rit.
3 3
4 1
4 4 4
1 1
1 1 2 1 1 1
4 3 1 3
1 1 2 2
3 2
1
3 3
1
=75 =70
153 154
VI
V
4
4 1
4
4
1
1 1
1 3 4
3
3 3
(6) (6) (4)

=65 =60
155 156
VI V V
III
3 4 3 4
4 1 1 3 1
2 1 1 3 4 1 2 3 1 4 1 2
1 4 4 3
2 1 1
4 2 3
2 1
3 1
1
157 158
17
IV I
III
accel. III
1
4 3
3
3 2 1 2
1 1 1 1 4
3
2 2
1 3
2 1
1 1 1
1
=65 =70 3 D.S. al Coda

159 160
Coda
2 4
1
2 1 2 1 1
3 3 2 1
3 3
2 3
2
3 3 1
1 3 1
rit. 1
=60
161 162
IV III IV III accel.

V
1 3 2
1 1 4
4 2
4 1 1
3 1 4 1
3 1 3
2
2 2
3 3
(3) =65
163 164
IV I III
II
4 4
3 4
4 3 4
2 1 4 4 1
1 2
1 1
3 3 1 1
1 3
1
=70 =75
165 166 =80
III
II
4 3
4 4 1
1 1
1 1 1 1 3
1 1 1 3 2
2 2 4
3 3
167 168
18
I
II
I I
3
4 4 4
2
1 1 1
1 1 4 3
2 1
1 3 1
1 2
1 1
169 170 3
III
I III
3
4 3
2 4
1 4 2 4 2 4 2
1 4 3 3
2
3 1
1 (3)
1 1
(3)
171 172
I III V
VI
III
2
2
4 1 4
1 2 1 1
1 2 3 2 2 2
1 3 3
1
1 3 1 3 1 1
1 1
173 174 3
3
III I
1 3 1
1 1 3
2
1
175 176
I
Fine
[1] 1
3 3
3
177 178
1
BERGKRISTALLNo. 1 Uwe Warneke

1. Andante con fuoco

IV
IV
II op. 54
III
Thema
4
4 1
3 3 1
2 3 1
2 2 4 3
2 4
3 2
2 4
1 1
1 2
3
=60 3
2
Non Finito. Inspired by "The Slaves of Boboli Gardens" (1530-33, by Michelangelo Buonarotti)
III
3
3
4
3 4 2 4
1 1 4 3
4 2 1
3 3 2
(3) 1
3 1 1 1
1
3 4
Variation von Takt 7

I II
1
4 1 4 4
3 1 1
2 1 2
1 4
(2) 1
3 2 3
1
1 2
3
5 6
Variation von Takt 19
II III IV
II
3
4
1 1 4 3 2 4
1 4 4 2
2 3 3 3 1 4
3 1
4
1
(2) (3) 1
7 8
BERGKRISTALL #1. 3 Studies for Classical Guitar. (c) Uwe Warneke 2003. All Rights Reserved. US Copyright Office, PAU 2-873-065
2
VI
I
III
1 1
4 1 1 1
3 3 3
2
9 10
VI V III
1 4
1 1
3 4 2
3 1 1 1
3 3 1 4 3
3
1 3
2 1
1 2
1
11 (5) 12
VI VII
Flagolett
4
2
1 1 4
2
3
3
1
1
13 14
4 4
1 1
1 1 1 4 4 4 4 4
3 3 3 2
3 3
1 1 1
3
3 3 3 1 1 1
15 16
c Es g B d F
V IV
II
4 4
1 1 1
1 1 1 1 1 1 1
2
1 1 1
2 2 1
3 3 3
3
17 18
ges A des E as H
3
I II III
III
2 1
3 1
1
2
2
1 4 1 2
3 3 1 3
1 4 1 1 4
3 1 3 1 3
1 1
(6)
19 20
Spiegelung von Takt 7: Zwöftonreihe c-B-ges-E
III
I
I
1
3 3
1 4 2 1 4
2 2
3
3 1 3
4 1
1
21 22
III
I II
3 3 I
2
1 4 4 1 3 2
1
3 1 1
2
1
1 1 1
3
23 24
Variation auf Wagners Tristan Akkord 3
VII
IV V
III
I
4
3
1 3
3 1 1 4 3
1 1
1 1 3 2 1
1 1
2 4 4
1
3 3 3 3
25 3 26
VII VI
I I
II
2 4 1 1
3 2 2 2
3 4 2
4 4 3 3 1
3 4
1 (3) 1 3
1 2 3
1
1 1
27 28
C es G B D ges
4
II IV
4 4 4
4 4 4
1 1
1
1 1 1
1 4
2 1 1 1
1 1
1 3 3
3
3
1
(4) (4)
29 30
Ges a des e as h
I
3 2
1 1 1 1
4
3 3
4
1 4 2 2
1 2 2 3
2
(3)
31 32
Takt 5,6 Oberstimme -12
Takt 5,6 Variation Unterstimme +12
I II
4
2
4 1 4
1 2
3 3 1
3 4 1
2 1 3
1
1 2 2 3
2 1 2
(3)
33 34
Variation Thema -14
accel. Thema (Variation)
4
4
2
1 4
2
2 (2)
2
3
35 36
=65
2
1
1 1 1 1 1 1 1 1 1
3
2 2 2 2 2 2 2
2 2
3 3 3
1
37 38
5
accel.
4 2
2
1 1 1 1
1 1
2 2
3 3 3 3 3
39 40
=70
II
I
2
1 1
1 4 1
1
2 2
4
2 3
3 3
1
1
41 42
I a tempo
rit.
1
1
2
3
3 2
1 1
43 44
=60 =55
rit. rit. accel. accel. a tempo
V
1 4 4
4
1 3
1 1 1 2 3
3
1 4 1 2
2 3 (2)
(3) (3)
1 (4)
3
45 46
=50 =45 =50 =50 =60
accel. accel.
III
II
4
4
3 4 3
1 2
1 1
3 3
1 4 4 4 4 4
1 4
1 1 1 1 1 1
(5)
(3)
(6)
47 48
=65 =70
6
II
rit. IV a tempo VI
V
III
4
4 3
1 1
4 3 4 3 3 1
1 2 1
3
(2)
1 1 2
1 1
49 50
=70 =60
rit. rit. rit. rit.
I
3
2 1
3 1 2
3
1
1 1 3
1 4
1 1
(2)
51 52
=55 =50 =45 =40
a tempo
[1] [2]
3
3
53 54
=60 Thema (Wiederholung)
I 3
3 3 3
3 4
2 3 1
4
1 4 1 4 3
2 1 3 2 2
3
(4) (3) (3)
3 1
2 1
1
55 56
rit. rit. rit. rit.

I
Fine
4
3
2
3
1 2 4 4
1 1
57 58
=55 =50 =45 =40
7
2. Larghetto
II op. 55
2 2
2 3 1
1 2 3 1 3
1 2 2
2 3 4 3
1 2
3 2 3
59 60
=50
V
III II
IV
3 V IV
3 3
3
1 2
4 3
4 4 1 4 4
1 4 4 2 3 3
1 3 1
3 1 1
(3)
2 2
1
1
1
(3)
61 62
III
I
4
4 4
2 1 1 4 1
1
3 3 4 1 3 4 1
2
2 2
1 3 2
1 1 3
3 1
1 2 1 3
(5) (3)
63 64
4 3 2
1
4
3
3 2
2 3
2 1
2 2
1 1 1 2
1 1
(4) (5)
65 (5) (6) 66(6) (6) (6) (6) (6)
accel. a tempo rit. a tempo

III II
1
1
1
3 4
1 2 2 3
4 4 2 3
(3) 4 1 2 2
(5) (4) 3
1 3
1 (5) 1
(5)
(4) (6)
(5) (5)
67 68 (6)
=55 =50 =40 =50
8
accel.
I
II
1 2 2
4 1 1
3 1 2 4
1 2 1
3 1 4
3 2
(4) (6)
(5)
69 70
=55
accel. Flagolett accel.
IV
II
II 4
4
2
2 4 4
1
1 1 2 1
3 1
4 1 (2)
3 2
3 (4)
1 1
71 72
=60 =65
accel. IV
II
4
4
2
4 3
3 1 1
2 2 3
2 1 4 1
1 1
(2)
73 74
=70
V
rit. rit. rit.
II IV
4
1 4
1 4 2
4 3
1 1
2 3 1
3 1 2
1 1 2
(2)
75 76
=65 =60 =55
a tempo rit. rit. a tempo
3
3 3
3
1 2
1
1
(5)
3
(6) [ 61 ]
77 78
=50 =45 =40 =50
9
III IV
1
4 1
2 4
3 1 3
1 1
2
(2) 2
(3)
79 80
III
3
1 4 1 4 4
2 1 2 3
4 1
2 4 2 1 2
2 4 2 3 2 2 2
81 82
II I
III
I
1 1
1 4 1 2
3 4
3 4 1
4 1 1
2 2 2 1
83 84
I
I
3 II
II 3 4
1
2
1
3 3 2 1
2 2 1 3 2
3 2 4
3
1
1
1
85 86
IV
II
4
4
4 4
1
1
1 1
1 1
3
2 4 1
1 3
1
87 88 3
10
IV
II
1
1
1 2 1 2
2 4 3
3 2 2
1 2
1 1 4 3
1
1
89 90
VI V
IV
IV
III
4
4 4
4 1 1
4
1 1 1
4 4 2 3 2 3 4 2
1 3 3
2 2 3 4 3 1
1 4 2 1
1 1 3
1 1 1
(2) (4) (4) (6) (4) (5) (3) (5) (4) (5) (5) (6)
(5) (6) (5)
91 92
VI V
III
4 4
4 3
1
3 1 4 1 1 4 4
3 3 1 1
1
1 1 2 3
2
1 1 3 4 3
1 3 1 1
3 4 4 4 3
1 2 1
(6) (2) (5) (2)
93 94
III II I 3
I
1 1
2 3 4 4
3 3 1 4 1 1
1 4 1
3
1 1
1
1 2 3 3
1 3 3 2
95 96
3 1
1
1 3
3 3 4
1
97 98
11
3 3
1 2
1
1 3
2 2
2 3 2
4 1 3
3 3 3
99 100
II
IV rit. I rit.
3 3
3 3
3
2
3 3
4 3
1 4 4 2 1
1 1 2 2
1
1
2 1
2
1
3
101 3 102
=45 =40
a tempo
4 3
3 2
2
[ 63 ] 1 1
1
3
103 104
=50
4
4 2 2
4 4
1
1
2 1 1
4 4 4 1
4 3 1 1
3 4 3
1 2
(3) 2 1
1 3 (4) (4) (4) (3) (3)
1
105 106
1
1
2
2 2
3 3
107 108
12
4 4
2
3
2
2 2
3 3 3
109 110
1 1
4 2 2
2 2
2 3
3 4 3 3 3
111 112
VII V
VII
III
III
4 4
4 1 1 4 1
1 1 1 1
2
4 1 1 1
4 4 3 1 1 1 3 1
3
2 3 1 1
1
2 (3) 2
2 (4) 1
3 3 1 1 1 1
(2)
(3)
113 114
accel.
III
4 3
1
2 1 2 1
4 1
4 2 2
2 1
1 1 1
3 3 3 2
1 2
115 116
=55
a tempo rit. rit.
I
4 4
Fine
4 3
3 1
3 1
2
1 4
2
2 2
2 (4) 2
2
117 118
=50 =45 =40
13
IV
3 op. 56
3. Moderato I
II
4 4
3
1 2 1 3
1
1 2 3
4
3 1 1 1
1
119 120
=80
rit. rit. rit.
II
IV
4 3 4
3
3
1 3
2 1 2 1
1 1
121 122
=75 =70 =60
a tempo
VI
1 4 1
4 3
3 3
2
4 3
1
1 2 1 2
123 124
=80
III
I II
3 1
2 4 4 4
3 1
1 4 2
1 1 3
1 1
125 126
I III
4
4
3
1
1
1 4
1 3 (2) (2)
1 4
2 1 (2)
1
1
(6)
127 128
14
VI
II
III III
4 2 4
3 4
2
3 4
1 1 1 1
1
3 3
1 (2)
3 1 2 3
1 1
(2)
(6)
129 130
III
4
3 3
1 2
2 1 2
131 132
III
3
1 1 1
4 4 2 2
3 1 1
2
3
2 1 4 2 2
1 1 1 1
133 134
rit. rit. rit. VII

rit. accel. III accel. accel.
IV I
3 III
4
1 1
4 4 3
2 3 1
1
3 2 1
2 1
2 2 1
1
3 (4) 1
(2) (2)
(5)
135 =70 =65 =60 136

=75 =65 =70 =75
a tempo III
III
I
2 2
1 1
1 1 1 1
2 2 3 2
3 4
2 2
3 1
1 3 1 1
3 1
137 138
=80
15
X V rit. rit. rit. rit.

III III
1
4
4 1
4 1
1 3 1 4
3 2 1 1 2
1 1 3
1 1
1 1 3
1 1 (3)
(5) 3
139 140
=75 =70 =65 =60
a tempo
2
1 1
2 2 4 2 4 2 4
3 3
4
3 1
4 3
1 4 1
1
141 =80 142

III
2 2 4 3
4 4
3 1 3
2 1 1
1
4 (2)
1 2
4
3
3
143 144
rit. rit. rit. III

II
1 3 2
3 1
1
2 1 3
1
1
1 4 2 3 4
1 2 2
3 3
145 146
=75 =70 =65
rit. a tempo rit. rit.
III
I IV
4
4
4 2
1 3
2 3 1 2
2 3 3 2 4
4 1
3
1 2 3 (4)
1 (5) 3
(5) (5) (6)
(5)
(6)
147 148
=60 =80 =75 =70
16
rit. rit.
I III II
2 2
3 4 1 3 3 4 2 4
4 1 1 4 3 1
2 3 3 2 3 4 3
4
2 2 1
(2) 1
1 2
1 (3)
(4)
149 150
=65 =60
rit. III rit. rit. a tempo 3
IV
1 2 1 1
1
2 1 1 1
3 4 2 2
3 3
3 [ 119 ]
151 152
=55 =50 =30 =80
rit. rit.
[ 120 ] [ 121 ]
153 154
=75 =70
a tempo rit. rit.
II
3
4
1
3 3 2 2 1
3 3
4 1
2 1
1 1
155 156
=80 =75 =70
rit. rit. a tempo
II
4
4 4
1
3 4 3 4
1 1 1
157 158
=70 =60 =80
17
4 4
1
1 2 1
3
4 4 4 4 2
3 2
3
(5)
159 160
2 1 2
4
2 2 2
4 3
3 1
(3)
161 162
4 3 2
3 1
1 2 2
3 3 2
1 1
163 164
rit. rit. rit.

I
3 1 1
3 3
4 [ 122 ]
1 2
1
165 166
=75 =70 =60
a tempo
[ 124 ]
[ 123 ]
167 168
=80
18
III
4
3
4
1
[ 125 ] 1
1
3
169 170
III
rit. rit.
III
4
1 1
4 4 2
1
3
4 1
3 1 [ 148 ]
1
3
171 172
=75 =70
rit. VI 3 IV
3
4 4
3 3 4
4 2 4
1
1
1
3
[ 149 ] 3
1
(2) (5)
173 174
=65
rit. rit.
2
3
4 (3) [ 150 ]
(4)
(5)
175 176
=60 =55
rit. rit. a tempo III
4
1 Fine
2
3
[ 151 ] 1
(5)
177 178
=50 =30 =80
1

These studies are dedicated to my musical friend MARGRIET VERBEEK
1. Andante op. 57
I rit. rit.
1 3 1
3 2 2 1 4
2
3 1 2
2
1
(3)
2
=60 =55 =50
rit. a tempo VI V
I III
1
3 4 1
3 4 3 1 2
1 1 1 3 2
3
1 3
1 2
1
1 2
1
2 1
(2)
(5)
3 3 4
=45 =60
III
4
2 4 2 1
4
2 4 1 4 1 2
1 3
(3) (2)
(3) 3 2
3
(3)
(3) (3)
(6) (6) (6)
(5)
5 6
1 1 2
2 2 2 1 1
3
7 8
BERGKRISTALL #2. 3 Studies for Solo Guitar. (c) Uwe Warneke 2004. All Rights Reserved. US Copyright Office, PAU 2-908-351
2
III
III II
3 2
4 2 1 2 4
1 4 3
3 1 1
4 1 1 4
1 1
1
1 3 2 1
3 2
1
9 10
3 3 I
3
2 4 1 1 1
2 2 4
4 4 3 3
2
1 3 3
1
3 4
1 1
3
11 3 12
I I
I
2 2
1 1 1 1
1 4 2
2 4 3 2
3 4
4 1 3 1
3 1 3
3
1
13 14
I
III
3 1 4
2 4 4
3 2
1 1 3 2
1 4 3 3
1
2 4 3
1 3 1
4 2
1
15 16
rit. rit. I
V II
II III
IV
III
1 4
1 4
4 1 1
3 2 1
3 2 1 3 1 2
2 1 2 2 1
1 1 1
3 3
1
1
17 18
=55 =50
3
accel. IV
III
I
III 3 3
3 3
II
4
1 1
1 1 2 4 3 2
3 4 3 4
2
3 2 1
3 1 1 1
3 2 4 4
3 1
1
19 3 3 3 3 3 20
=55
a tempo III
V
3 3 3 3 IV
3 4 4
4 3 1 4
2 4 4
3 4
3 1
2
4 1
3 2 1
1 2 1 2 3
1
1 2
3 3
(5)
3
(4)
21 22 3
=60
I
I
3
I
4 4
4 4
1 1
1 3
3 3 3 1
3 3
1 1 1
(6)
23 24
3 3
1
2
1 1
3 3
3 1
2 3 3 3
4 4
1
3 3
25 26 3
3
1
3 1 1 3
2 2
2 3
2 3
3 3
27 28
4
I IV
I III
2 1 4
4 1 1 3
2 3 1 3 1
1
1 3 3 3
3
4 4
2 2 1
2 1 2
1
29 30
III I rit. rit. rit.
4
4
1 3
1
2 1
4
(3)
1 3 2
3 3
1 2 1 1
31 3 32
=55 =50 =45
a tempo
[9] [ 10 ]
33 34
=60
3 3
[ 11 ] [ 12 ]
3
35 3 36
IV III
1 4 1
4 1 2 1
3 3 3
2 1
3 3 1
1
37 38
5
II
IV
3
3 1
2 4 2
4 3 3
2 4 1
1
1
1 1 3 3 3 3
1
(4)
39 40
IV
III
4 4 1 4
3 3 1 4
2
3
1 1
3
1 1 4 3
1 1 1
2 2 2
41 3 42 3
I
IV
III
II III IV
3
1 3
1
3 1 4 1
2 1
3 1 1 3 2
4 1
1 2 3
2
2 1
43 44 3
I III II
3 3
3 3 3
3
4 4 4
4
1 2
1 3 4
3 3 4 1
1 1 2
2 1 4 1
1 1 3
2
1 2 3 3
2
3 3
45 46
III II
3 3 3
3
2
3 1 2
4 1 4
2
2 3 3
1 2 3
3 1
1 3
4 1
1 2 1
3
1
3
3 3
47 3 48
6
IV
V
3
3
3
4 I
4
4 2
1 2 4
3 1 2 3
2 1
2 1 3
(3) 3
2
3 3 3
1 2
1 1
(2)
3 (2)
(5)
49 50 3
I
IV
III 3
3 3
III
4 1
3
1 1 1
1 1 4 1 4
2 4
1 3 2 3
3 1
2 1 1
1 3
1
51 52
I rit. rit. rit. a tempo

3 III I III
4
3
1 1 2 2
4 1 1 1 4
3 3 3
3
2 1 1 1 4
2 1 1
53 54
=55 =55 =45 =60
III
III I
2 2
1 4 4
2 1 2
3 1 4 3 4 4 1 3 3
4 3 4
3 1 1
3 3
55 56
Fine
2 4 2 2
4
3
1 (3) (3) 1
1
2 4
3 3 3
1
57 58
7
III
2. Andantino op. 58
I
II I
4 3
2 2 1 1
4
1 1 1 1 2 4
3 1 2 3
3
2 (3)
1 2 3
1
1
59 60
=60
II I
1
1
4 1
4 4 4 3
1 1
3
3 3
4 (4)
2 1 (4)
61 62
rit. rit. rit rit
I I
3 3 1
1 4 4
3
2
4 1 3
1
63 64
=55 =50 =45 =40
a tempo III IV
III
3
I 3 3
4 3 1 3 1
4
4 3 4 3 4 1 3 3
4 1 1
4 2 4 2 1 4
(2) (3)
2 2 1
1
1
(2)
65 66
=60
III
IV
1
2 4 4
3 1
2 2
1 4 1 4 1
1
67 68
8
III I
4 1 1 1
3
2
2
1 3 1
4 2 2
69 70
rit. rit. rit. III

a tempo rit. rit. rit. rit.
I
2 3
1 1 1 4
3
1 1
4 3
2 3
4 1 2 3 2
2
4 2 4
3 1 1
3
71 72
=55 =50 =40 =60 =55 =50 =45 3
=40
a tempo
I III III
4 3 4 4
4
2 4 4
1 1 2 1 3 3
4 2
3 3 (3)
2 2
1 1 1 3
1 1
(3) (2) (4)

(5) (4)
73 74
=60
III
I
1 1
1 4
1 1 3
2 1 4
3 3 1
1
2
1
75 76
II
rit.
3 3 I III
II
I
2 4
4 1 4 4
3 4 2 1 1
1 1 4 1
1 3 3 2
1 (2) (2)
1 3 1
1 3
3
77 78
=55
9
rit. a tempo I
III
4
1
1 4 4 1
3 1 3
2
2
2 1
79 80
=50 =60
rit rit. I
4 4
3 1
81 82
=55 =50
a tempo III I
1 1 3
3
1
1 2 2
3
1 1
3 3 1
2
3
83 84
=60
III
4 4 3 3 3
1 1 4
1 1 1
3 2 1 3
2
1 4
2
85 86
III III
I
IV
4
4 4 1 2 4 2
2 4 1 1 3
1 1 4 3 1 2
2 1 4
1 3 3 4
3 1 3
3 1
1 1
87 (6)
88
10
III
V
1 4
4 2 2
1 1 4 4 3 1
2 4 2
1 1 1
2 1 4
1 3
2 3
89 90
II IV
III
3
1
2 4 3 1
4 1 3 2
2
3 1 1
4 3 4 4
1
4 2 1
1
91 92
IV
3
1
4 1 4
1
2 4 3
3 1
2 3
2
3
(5) (5) (5)
93 94
3
1 3
4 1 2
3 3 1
1
1 1 4
2 1
3
95 96
rit.
IV
III
4
3 4
1 4 1
3 1 2 1 3
1 1 4 3
2 2 1
3 3
1 2
2
2 3 1 1 1
97 98
=55
11
rit. a tempo
4 4
3 1 3 3 1
2
3
2
1
(3) 2
1
99 100
=50 =45 =40 =60
1
2 3 1
2
4
1
1 1
4 3 3 3
4 2
3
101 102
rit. a tempo
4
1 1 1 3 4
1
3
2
3 2
3 2
1
103 104
=50 =45 =60
IV VI
4 4 3 3
1 1 3 4 1
1 2
2 2 2
3 3 1
(2) (3) (2) (2)
105 106
rit a tempo
I
III
I
4 4
3
2
1 3 1
2 1 1
2
3 2
3 1
1
107 108
=55 =50 =40 =60
12
IV
3
3
1 1 1
2 4 4
2
3 3
2 4
1 1
1 1
109 110
IV I
III
1 1 1 4
4
4
2 1 1 1 1 2 1
4 3 3 3
2 2 3 1
2
1
1 1
(2)
(4) (4)
111 112
I
III
4 4
1 4
1 2
1 1 4 3 3
3 4
2 2
3 3 1 1
4 2
1
(4)
(4)
113 114
I I
I
1 1 1
1 1
1 1
3
4 4 4
1 3
4 3 3 1
115 116
Fine
1 1 1
2 4 1 1
3 3 2
4
3 1
117 118
13
3. Andantino con moto op. 59

III
3
3 3 2 1 4
1 4
3
2 2
2 1
1 2
(4)
119 120
=70
II
2
3
2 4 2
1 4 1 1
1 4
2 4 1
3 1
1 1
121 122
1 1
3 4 3
2 4 2
3 3
2
4
3 4
123 124
rit. a tempo
IV
2 2
1 1 1 2 1 4
1
2 2
2
1 4 3 1
125 126
=65 =60 =50 =70
rit VI
V
1 1
2 2 1 2
4 4 4 4
2 1
3 3
1
1
1 1
3
127 128
=65 =60
14
V rit. a tempo accel.

III
1 1 3
2 2
2 4 4 4 1 3
3 3 2 1
3
1 3 4 3
1
1
1
129 130
=55 =50 =70 =75
III
II
4 3
4
1
3
4 3 1 4 1 3 2 2 3
1 1 4 3
4 1 2 4
2
2 1
1
131 132
4
4 4
4
3 1
3 2 3 3 3 2
4
1
1 1
3 2 2
(2) (4) 2
(4)
133 3 (6) 134
a tempo rit. III a tempo

I 3 I
IV
4
1
1
4 4 1 2 1 1 3 1 1
3 3 1
3 1
1
3
3 1 1
2 1
1
135 136
=70 =65 =55 =70
rit.
I
III
III
4 3
1 3 2 1
1 3 4 4 2 2
3 1 3
1
1
1 2 1 1
137 138
=65 =60
15
rit. a tempo III

IV 3
III 3
1 4
2
4 4 1
4
4
3 3 1
(2) 2 2
1
2
1 1 3
139 140
=45 =70
III
3
3
3
1
2 1 1 2 4 4 3
3 1 1
3 1
2 4 3
3 1
1 1 3 1
4 2 2
141 142
3
III II
III
3 3 I
I
4
4
2 2
4 4 1
4
2
1 3 3 1
1 1
3 1 4
2
1 2 1
(6)
143 144
I
II
4 3
1 1
2 1 1 4
3 1 3
1 3
2 1 2 (3)
4 3 1 3 1 1
1
145 146
3
II
IV I
3
1 4
3
1 3 1 1 4
1 3 1 1 1 1 1
2 3 2 2
1
3 1 2
2 4
1
1
147 148
16
II
[1] [2]
1 1
1
3
3
149 150
1 1 2 4
2 2
1 1 1
1
3
151 152
II
I
4
2 4
4 3 2 3 1 1
1 2
(3) (3) 1
1 4
3
153 154
II
[ 132 ]
3
3 4
3
1 1 1
2 1 1
1 3 3
2 1
3 2
1
155 156
III
IV
V
3
[ 133 ]
2 2
1 1 2
1 4 1 4 1
3 2
3 3
4
1 1
1 1
(2)
(3)
(4) (3)
157 3 158
(4)
(5)
17
2
3
4 3
2 2 1 2
1 1
1 2
2 1 1
3
159 160 (2)

(3)
II
3
1 1
3 1 1 1
1 4 4 4
1 3
2 3 3
2
2 4
2
3
161 162
3
V
II
3
3 3
3
4
1
4
1 1 4
1 2
4 3 1
3 1 2 1
3 2
3 3
163 164
III
4
4
1
3 1
3
2
2 (2)
1 4
1
1 1 4 1
165 166
III V VII rit.
3 3
4
3
1
1 2 1 4 3
1 1 3
2
4 4 3 1 2
1 1
3 2
1
1
167 168
=65 =60 =55
18
rit. accel.
[ 125 ] [ 126 ]
4 2 2 3 3
4 1
2
4
(3)
169 170
=50 =55 =60 =65
a tempo
[ 151 ]
4 4 2
2 2
3 3 3
171 172
=70
II
I
4 4 1
3
4
2 3 1 1 1
1 1
3 1
2 3 1
1 4
1
173 174
I
II
IV
4 1
1 1 4
1 3 1 4 2 2 2
2 3 (4)
4 3
3 3
1
1
(4)
(6)
(4)
175 176
II
Fine
1 1 2 4
4 4 1
1 2 2 2
(3) 1
3
177 178
1

op. 60
Concert Study for Classical Guitar (3 scenes from TVbeat)
Disharmonic modern cars need old-fashioned harmonic wheels to drive.
1. Movement (On the Seashore - Pas de Deux): Andantino con anima

II
I
1 1
4
1 1
4 1
3 3
2 2
3
3
1
1
Fleur's Motif
2
=70
4 4
1 2
1 1 2
4 2
3 4 3
(3) 2
3 3 3
3 1
3 4
VI
rit.
III
4
1 3
3 4
2 4 1
1
1 1
4 4
1 3
4 1 3
1 3
(2)
(5)
5 6
=65 =60
rit. a tempo I
4
1
1 1
1 1 3
2 2
3 3
2
2 1
3 3 3
3 3
7 8
=50 =70
BERGKRISTALL #3. Concert Study for Solo Guitar. (c) Uwe Warneke 2004. All Rights Reserved. US Copyright Office, PAU 2-908-351
2
rit. accel.
4 3 3 4 4 1 1 4 1 1
2
2 3 2
2 1 3 3 3 3
2
9 10
=65 =50 =60 =65
a tempo III V
3
4
4 2 2 2 4 4
4 1 3
4 3 3 4 1
1 2 3 2
(2) (3) 1 4 3
2 3
2 1
1
3 (3)
(2)
11 12
=70
rit.
I III V
III
1
3 4 3 1 1
2 2 2 1
1 4 1 1 4
1 3
4 3 4
1 3 1 1 1 1
13 14 3
=65 =60 =55 =50
III a tempo II VI
IV
3
III 3 3
2 2
3 III
1
4
4
3 3 4 1 1 1 3
1 1 1
4 3 3
3 1 3 2
3 3 2
1 4 1
2 1 1
2
Leon's Motif 3
3
15 3 16 3
=70
III rit
III
I
3 II I
3
4
3 1
3 1 4 4 1 1 3
3 4 3 1
1 1
4 2 1
1 2
1
2 3 1 1
17 3 18
=65
3
a tempo II
III
III II
3
1 1 4
3 1 3 1
4 1 2 1 1 2
1 4 1 1 4
1
2
1 1 1
1
19 20 3
=60 =70
accel. a tempo
III
III
II
2 1 1 4 2 1
1 1 1
3 3 3
2 2
4 3 4 2 3
4 4 4 4
1 1 1
3
21 3 22
=75 =70
rit. III a tempo
3
3
2 1 2
3 2
1 1
23 24 3
=65 =60 =50 =70
V III
IV
3
3
1
4 3
2 1 1 2 4
1
2 1 2 2 1
3 3 2
4 1 4
4 4 1
1
3
25 [ 15 ] 26
III
rit.
II
2 2 4
4
1 2 2 1
1 3 1
1 1 1
1
27 3 28
=65 =60
4
a tempo
II
4
3 3
1 1
1 1 2
2 3 2 3
2
1
3 3 1
1
(3)
29 30
=50 =70
III
II
4 3
1 1
1 1 1 1
2
1
2 2
3 3
2
3
1
31 32
3 I
4
1
1 3 3 1
3 3 2 2 3 2
1 3 4
2 1
2 2 2
4 1 2 3
33 34
3
1
1
4
2 3 [ 32 ]
2
1
35 36
3
1
3
2 2
3 1
2
[ 33 ]
37 38
5
V
rit.
II
4
4 4 4 1 1
1 4
1
3 3 2 2
(4) 3 1 1
2 2
3
39 40
=65
rit. a tempo
IV
4 4
4
1 3
1
1 1 2
2 2 2
1
1 3
41 42
=60 =70
accel. a tempo
II
4 II
Flagolett
1 2 3 2 1
2 3 4 2
3 3 4
1
1 3
1 2
43 44
=72 =70
IV
III
3
3
3
4
1 4 3 4
3 2 3 3 1 1
2 3 2 3 1 1
(3) 3 4
4 2
1 2 1
1 1
(3)
(3) 3
45 46
II
3
2
1 3 3
2 1 1
2 1 1 1 2
3 3 3 3 4 1
1
3 1 1 2
1
47 3 48
6
rit. a tempo
4 4 4 4 2
4
2 1 1
1 2 1
1 1
1 1 4
3
49 50
=65 =60 =50 =70
4 3
2 1 1
1 1 3 1
4 4
2
1 3 3 2 1 3
51 52
rit
3
4
4 3 4 4 4
3 4
1
1
2 1 1
2 1
4 3 3
53 54
=67 =60
a tempo
1
1 1 1
1 1 1 1 4 4
2 3
2 2 (3)
3 3
2
4
55 56
=70
III
4
Fine
1 1
4 3 1
2
1 2 3
2
3 3
2 3
1
57 58
7
2. Movement (Enter the Amazing Media World - Leon's Solo Part): Moderato con brio
I
4
4
1 1
1 2 3 3
3 4 4
3 2
2
3
59 60
=80
I II
1 4 1
2 2 1 3 3
3 1 4 1
3 3 2 2
1
3
2
1 4 1
61 3 62
II rit.
I I
[ 59 ] 4 1 3
4
1 1 1
2 3
3 3 4
1
1 4 1
1
1
3
63 64
=75
rit. IV
accel. I
V
3 3 3 3
3
1 3 1 1
2
3 1 3 2 3 1
2 1 1 1
(3)
1 2
1
65 66
=70
I
accel.
3
3 3 3
4 3 1 4 4 3
1 1 2 1 1 2 1
1 2
1
3
1
67 68
=75
8
I
rit.
III
I
II
I
3 1
4 4 4
1
2 1 1
2
3 3 2 3
1
3 1 4
1 1
69 70
=70 =65 =60
a tempo accel. accel.
I
I
4 3 3
1 1
1 1 1
1 3
1 1 1
3
1 2
71 72
=80 =85 =90
accel. rit.
I
I
1
1 1 2
4
3 1 1 4 3
2
3
1 4 (4) 1
73 74
=95 =90
rit. a tempo
I
4 3
1
1 1 1 2 1
4 3 1 3
2
4 2 4
3 1 1 4
1 4
75 3 76
=85 =80
IV I
III
IV III V 3
1
1
4 4 1 3
3 3 3 3 1 1
3 2 1
2 2 1
2
3 2 1 1 2 1
1 1
77 78
9
III
I
rit.
3
3
2 1 4
2
3
3 1 1
1
4 1 1 1
1 1 1 3 3
1 2 4 4 4
1 1
3
79 3 80 3
=75 3 =70
II accel.
3 I
3 III
4 3 4 3 4
4
4 4 3 4 1 2 4 4
2 3 3
4 1
3 2
1 1
1 1
3 2 3 2
3
81 3 82
Leon's Motif (Variation) =75
a tempo V III
II
IV
IV
2 2 1
2 1
1 4 1 3
1 1 4 1 1
3 1
(4) 3 3
1 1 2
1 1
3
1
(3) (3)
(5)
83 84 3
=80
IV rit a tempo
4
4 3
1
1 1 1 4
3 3 1 2 3
2
1 2 2
1 1
2 3 1
1 1
85 86
=75 =70 =80
rit.
I
I
3
4 3 4
3 1 4 4 3 4
4 4 1
2 1 1 1
3 2 2
3
3
87 88
=75 =70
10
III IV
3
3 3 III
3 3 4
4
4
4 2 4 3
2 1 3 1 1
3 3 3 3
1 4
2 2 4 1 2
1 1
1 1 1 2 1
3 3
89 3 90
II
III accel. rit.
II I IV
3
3
3
1
4 1
4 1 4 1
3 4 3 3 3 1
1 4 4
4 3
1 3 3
1 4 4
1
2 1 1 1
3
91 92 3
=75 =70
rit. accel.
3 I
3
I 3
4
4 4
3 4 3 3
1 4
3 1 2 1 1
2 1
2 3 1 3
3 4 4 1
2 3
3
93 3 3 94 3
=65 =70
IV
3 III
4 3
1 4 1 1 1 1 1 1 1 1 1
1 3 1 2 2
1 1 1
2 3
4
4
95 96
accel. a tempo
II I
1
3 3
1
1 1
1
4
97 98
=75 =80
11
[ 59 ] [ 60 ]
99 100 3
1
1
2
[ 62 ]
1
[ 61 ]
101 102
=80
I I
3 3 3
3
4
1
1 1 4
2 1 1
1 3 2 2
3 3
2 3
2
3 1 1
103 104
rit
4 1
3
1
2 2
2 2
4 4
4 2
105 3 106
3
=75 =70 =65 =60
a tempo
II
I IV
1
1 4 1 1 2
1
1 1 1
1 1
3
2 2 1 1 1
1
107 108
=80
12
rit.
IV
2
2 1 2 2 3
1 1
1 1
1
109 110
=75 =70
rit. a tempo IV
4
2 4 4 1 4 4
3
3
1 2 1 2
3
1 1
(3)
111 112
=65 =60 =80
II
I
3 IV
4 2
1
3 1 4 4 1
3 3 1
3 1 1
1
2
(2)
113 114
rit
II I IV
I
3
4 2 1
1 1
4 1
3 3 4 4 1
1 1 1 3 1
1
2 1 1
1 1
(3)
115 116
=75 =70 =65
II
rit. a tempo rit.
Fine
1 4 1
1 1 2 4 2
2 1 1 1
4 1
1
117 118
=60 =80 =75 =70 =65 =60
13
3. Movement (Reading Leon's Letter - Fleur's Solo): Moderato grazioso
2
1 4
2 2
1 1
119 120
=80
4 3
3
2
3 1 1
1 1
1
2
121 122
IV
2 4 2
2 1 2
1 1 4
1 1 1
1 3
3 1 4
2 2 2
3 1
123 124
IV
3 2 2
1 1
4 1 3
3 1
125 126
2
4 1 1
2
4
3
4 3
2 1
3 3
1 1
127 128
14
I
II
3
4
2 1 2 2
3
2 1 1
4 3 3
1 1
129 130
rit. a tempo
4 2 3 3
1
2 2
2 3
3
3 1 4
131 132
=75 =70 =80
1 4
1 2
1 1 1 1
2 2
2 3 4
1
1
2 2 3
133 134
rit.
2 3 2
1 3 3
2
1 1
1 1
(3) (2) (2)

135 (3)
136
=75 =70 =60 =50
a tempo
I
II
1 1 4 1 1
4 2
3 3 4
2 2 1
1 2 1
3
1 3
137 138
=80
15
4
3
4
2
2
2
1 1
1
3 (2)
139 4 140
rit. a tempo
III
2 1 1 3 2
1
1 2 1
4
3
141 142
=70 =80
rit.
III
1
2 1 3 1 1
3 1
2
2 1 1 2
1
143 144
=75 =70 =65
a tempo
I
4
1
3
3
4 3 2 2
4 3
1 1 1
1 1
145 146
=80
IV
I
III
4 4
1
4 3
1 4 4
1 1
(2)
3 1
1
1
147 148
16
rit. a tempo
1
4 1 1
3 1
1 2 2 2 4
3
1 2 1
149 150
=80 =75 =70 =50 =80
4
3 1
2 1 1 1 2
2 1 4
3 1 3
2
4
1
151 152
rit. VI
I
4 3 4
4 2
1 4 4
1
1 1 1 1
(2) (2)
2 4 3 3
1
(5) 1 (6) (2)
(6)
153 154
=75
rit. VI rit.
4
4
1 1
1 4 3 1
4 3 4
2 2 3
2 2
3
1
155 156
=70 =65 =60
accel.
3 3
2 1
[1] 2
3
1
=75
157 158
Fleur's Motif =70
17
accel. a tempo
1 1
2 1 1 4
2 2 3
3
2 2
3
2 3
4
1 2
159 160 3
=75 =80
rit. a tempo
2 4
4 3
1
2 3 4 2 2 3
1 3
(3)
1 1
1 3 1 2 1
3 1
(2)
161 3 162
=75 =70 =80
rit. accel.
III
2
4 2
2 1 1 1
2 2
1 1 4 3 1
2 3 3 (3) 3
1 2
(4)
4
(2) (5)
(5)
163 164
=75 =70 =65 =70
accel. a tempo
2 4
2
1 1 4
2 2
1
2
1 3
1
165 166
=75 =80
rit.
3
2 1
2 1 1
1 3 3
1 1 4 4 3
2 2 2 2
1
3 4
167 168
=75 =70
18
rit. a tempo
3
1
2 2
3
2 2 (2) (2)
169 170
=65 =80
VI
IV I
1
2 1
4
3
3 2 3 3 2
3
2
1 4
1
171 172
II
3 1 1 1
4
2
1 3 3
3
1 4
173 174
4
4 3
1 2 1 [120 ]
175 176
Flagolett
4
Fine
[ 121 ]
177 178
1
No. 4 Uwe Warneke
op. 61
Concert Study for Solo Guitar (3 scenes from TVbeat )
1. Movement: Fleur's Temptation ( Andantino con brio )
III
II
2 1 2
4
1 1
2
=70
rit
I
4 3
4
4 3
3 1
3 4
=65 =60 =55 =50
a tempo
III II
1 4
4 1
3 3 3 3
1 1
2 2
1 4 2
1
1
5 6
=70
2
2 1 3 1
4 2 1 1
2
2
4 4 2
1 1 1 1
1 1
7 8
4
3 3
1
3 1
1 2
2 4 3
2
3 3
2 4 3
1
9 10
accel.
4 4
1 1 1
2
3
2 1
3
3 3
11 12
=75
a tempo
4 4
2
1 4 1 4 1
1
3 2 3
3
13 14
=70
3
accel.
IV III
II
4
2 4 2 3 4
1
1 3
2
1 1
1 1
15 16
=75 =80
rit a tempo
III
2 1 [7]
1
2 1 3 3
1
2 1
17 18
=75 =70
rit. accel.
IV
III
[8] 4
4
1
3 4 4 4
4
3
1 1 1
4 1
(3)
19 20
=65 =60 =50 =60
a tempo
IV III
II I
2 1
1 3 1
3 2 3 1 3 3 2
1 3 1 3
(2)
1 1 4
1 1
21 22
=65 =70
4
rit.
I 3
2 2 1 1 4
2
1 3
3 [ 10 ]
4 1
23 24
=65
accel.
II
V
4
3
3 2
1
1 3
2 1
1 3 2 3
2
1 1
(4)
25 26
=60 =55 =50 =55 =60 =65
rit. a tempo
II III
1 1 4 3
1 4
2 4 1
1 1
2 1
3
2
1
27 28
=60 =55 =70
accel.
III
IV
1 2 2
4 1 1 1
1 2 3 3
1
1 1
(4) (4)
29 30
=75
5
IV
V
4
1
1 1
1 2 4
4 1
3 3 2
1 1
3 2 3
1 1 2
3
31 32
a tempo
IV III
II
4
1 4 4 4 1
1 4 1 1 3
2
3 3
2
3 1 1
2 3
33 34
=70
accel.
IV V
IV V VII
3 4
1 1 2 1 2 3
2 3 1
2 4 1 4
4
2
3 1 1
35 36
=75
a tempo
VI
1 2
1 1 4
2 2 3
1 1 1
1 3
3
(5) (5) (4)
37 38
=75
6
4 4 4 4
3
1 1 1
1 3
2
1
39 40
I III
accel.
II
3
1 4 3
4 3
4 3 2
2 2 4
1 3
1
1
1
41 42
=75
III IV
3
2 3 1 2 1 2
1
3
1
(2)
43 44
=80 =85
rit.
III I III
1 1 1 1
2 2 2 2
1 1
1
45 46
=90 =85 =80
7
a tempo
III
3 1 1
2 1 3
1 1
47 48
=75 =70
III
4 4 4 4
4 3 3 4 3 3
2 1
1
3
1 2 1 2 2 1
1
49 50
III
IV III II
1 4 1 1 2
1 4 3 1 3 3 3
1 1 1
1 2 2
51 52
III
3
3
4 1
1
3 4 1
3
1 1 3
3 1 3
2 2
2 3 3 1
(5)
53 54
8
III
I
1 4
3 1 3 4 1
1
1
1 1
1 3
3 2
2 2 1 1 3
55 56
I
Fine
4
4 1 1
3 1 2
2 3
2
3 2 3
3 1 1 1
57 58
2. Movement: Leon in Dancing Palace ( Andantino con anima )

Blinded by Amazing Lights
IV I
III
2
2 4 1 3
4 2
3 1
3
1
1 1 1
(3)
(6)
(4)
(5)
59 60
VI
3 IV
3 III
4
2
4 4
1 4 3
1 2 2 3
2 1
3 1 2
(2)
3 1
1 1
1 2 1 1
61 62
9
rit.
IV III
IV
4 3 2
3 3
1
3
4 4 3
1 1
1 4
2 1 2
1
(5)
63 (3) (6) (5) (5) 64

=65
=60
a tempo rit.
IV
3
2
3 1
1
4 3
2 3
1 3 4
1
65 66
=55 =50 =70 =65 =60
a tempo
III
4 3
3 1 4
3
2 1 4
1 1
2 4
2
67 68
=55 =50 =70
I
III
4 4
1
3 1 1 1
3
1 1 1
2
1
2 1 2
69 70
10
1
2 1 2 1 1 1
3 3
3 1 3 1 4
1 2 1 3
4
2 3
4 1 3
3 1
71 3 72
III
3 3 III IV
II
2 1 4 4
4 4
1 1 3 3 1 2
1 3 3
3 4 1 2 4
(3) 1 1 3
(2)
1
(2) 2 2 1 1
(4)
73 74
All people can dance!

rit.
III
1 1
3
1 2 3 1 3
1 1
3
3 1 4
2
1 1 2
75 76
=65 =60 =55 =50
I III
3
1 3 1 4 4 4 1 1
1 3
4 3 3 3 1 1
1 2 1 1 4
3 3
2 1 2
3 1 1
77 78
11
3 3 1 4
3 3 3 2
1 2 2
2 1
2 4 3 2 4
3 2
1 2 1
79 80
Wait! Show me how to dance! accel.
3 1 4 2
1
2 3 1
2
1 2 2
4 1 3
81 82
=55 =60 =65
a tempo
I
4
1
1 4
1 1
2
3 3
2 2
3 3 1
3
3
3
83 84
=70
4 4 1
1 3 3 3 3
3 3
3 1 3
3 4
1 3
85 86
12
4 3
2 2
1
1 1 3
2 3
87 88
4 4
2
3 1 1
2 2
2
3 4 4
1
89 90
3 3 3
1
2 3
2
1 4 1
91 92
I can DANCE!
[ 63 ]
3 3 3
1
93 94
13
[ 64 ] [ 65 ] [ 59]
95 96
[ 60 ]
2 1 2 2
2 3
3
97 98
accel.
[ 83 ]
1 1
3
2 3
2 2
3
1
99 100
=75
Am I a media world citizen now? - Yes, you are!

rit. a tempo
3 1
4 4 4 1 1
2 2
4
1 1
3 3
3 3 4
(3)
101 102
=80 =75 =70
14
4 1
1
1 1 4 1
2 2
2
4 1
3
3 1 3 3 3
103 104
III
3 4 3 4
1
1
3
3 2
1 2 1
2
105 106
4 4
1
3 4
3
1 1 1
1 2
2 2 3 4 3 3
3
107 108
rit.
2
3
[ 100 ] [ 101 ] 4
109 110
=65 =65 =55 =40
15
a tempo
[ 59 ] [ 60 ]
111 112
=70
Let me discover my new world
IV IV
III
V
4 4 1
2 2
2 3 2 4 4 3
3
3 2 3 2
4
1 1
1 1 1
113 114
V IV
IV
1
1 2
3 3 1
2
4 4
1 1 1 1
4 1
1 1
115 116
IV
Fine
2
3
2 3 2 3
2
4 2
4
1 3 1 1
117 118
16
3. Movement: Leon meets Fleur for the first time (Andante)

accel.
III II
IV
4 II
4
4 4
2 3 1 1
1 1
3 2 2 1
1
1 3 3
1 accel.
119 120
=40 =45 =50
II
accel.
3
I
3 3
4 2
2 4 1 4 1 1 2 4
3
4 3
1 1 (3)
3 2 1
2 2 (2)
(4)
accel.
(4)
121 122
=55 =60 =75
rit.
IV
IV
4 4
2
1
2
3 2
4
3 3 1 3
4
1 1 4 2
1
1 1
(6) (5)
(4) (5)
(5)
123 124
=65
a tempo
IV
III
II
4
2
4 4 1 3
3
1 4 3 2
1
2 1 4
(2) (3)
3 1
2
(2)
125 126
=60
17
2 1
2
(2)
3
127 128
II
I II
3 3
4 4
1 1 1
4 1 4 1
3 3 3 3
2
2
1 1
(3) 3
129 130
3
3 3
1 2 1
3 1 4 1
3 3 4
1 1
2
1
2
131 132
III
I
3
3
4 4 4 1
1
1 3 3 1
1 3
1 1 2
1
1 3 3
1 4
133 134
18
1
1
4 3 4 3
1 1
3 4 3 4 3 1
1
135 136
IV
III IV V I
4
1
2 1 3 2
1 3
3 4 1 1 2
3 3 (3) 4
1
2
1 1 1 1
(3)
137 138
VI
III
3 3
4 3 4 4
4 1
1 3 4 1 4 3
4
3
1
(2) (2) (3)
2 2
139 140
II III
I
3
3
2
3
4
3 1
1 3 3 2 4
4 1 1 2
1 3 3 3
(3) (3) (3)

1 1
(2) 1 1
(5)
141 142
19
a tempo
III V 3 3 3 IV III
V
3 3
3 3 3
rit. 4 4
3
4 4
4 3 4 1 1
3 1
1
2 2 1 4 1
1 1 4 3
3 1 2
1
(2) (2)
3 (2)
2 1 1
143 144
=55 =50 =45 =40 =60
rit. a tempo
3 3 4
4
3 1 1 3 2
3 3 1 3 2 3
2 2
2
1 1
3
1
(4) (4) (5) (5)
145 146
=55 =50 =45 =40 =60
III IV III
4 1 3 1 1
2
3 3
3 4 1 3 2 1
3
2
(2) 2
(2) (2) 2
1 2 1 1 1 1 1 1
2 2
2
(2) (3)
147 (6) 148
rit. III
III
III 3
3
1 4 4
4 3 3 1
4 (3)
2 1
1 4 4
3 4
2 3 3 3
4 3 1
1 1 1
4 1 2 1
2
4 2 1 1
1
3
(5)
3
149 150
=55 =50 =45 =40
20
V VI
4 4
4 3
1 1 1
1 2 1 1
2 4 2
2 3
1 1
a tempo
151 152
V rit.
III
V
4 2
4 3
2 1 4 3 3 4 1 1
4 1 3
1 1 1
3
1
1 2 1
153 154
=55 =50
a tempo
III
3 2 1 1 1
3 4
2 3 3 1
1 2 2
3
(2) (3)
1 1
1 1 4
155 156
=60
3 2 4 3
1 1 1
3 3 3 2
2 3
(4) (4)
157
21
III
3
1 4
1
4 2 1 2
1
1 2
2 1 1 4 3 3
[ 136 ]
158 159
III I III
I III
3
1
1 1 1 1 1
1 1
2
[ 137 ] [ 138 ] 2 3
2 2 2
1 1
160 161
III I II
III
4 1 1 1
1
1 1 4 2
2 2 1
1
2 1 3 3
1 1
2
[ 138 ]
162 163
rit. a tempo V
III
3 3
4
4 4
2 4 3
3 4 2
4
1 3 1
2 4 2 4 3
1 1 1
[ 139 ] 1 3
3
3
164 165
=55 =50 =45 =40 =60
22
VII rit. a tempo

III
V III
III
4
3
3
3
1
2 4 1
2
1 1 3
2 2 1
3 3 3 2
1 1 1
2 2
1
3
166 167
=55 =50 =60
3 I
3
2
3 1 4 2
2 2
2 3
1 3 1
4 3
1
1 1 3 4
1 1 1
168 169 3
IV
III
3
1
4 1 4 1 3 1
4
1 3
1
1 2 2 3 1
2 2
3 1 1
170 171
III
1 3 1
3 1
3 2 2 3 2
2
4 4
1 2 1
172 3 173
23
III
3
4 1
4
1 3 3 1
3
3 1
1 4
1 1 1
174 175
V
I II
3
3
4 4
3 2 1
4 1
1 1 1
4 1 3 3
3 1 3 3
2 4
1
3 2 1 1
1
3
176 177 3 3
Fine
1
1 1
2
3
3
178
1
No. 5 Uwe Warneke

BERGKRISTALL
Splinters. 2 Studies for Solo Guitar
Splinter #1 (2006) - 1. Movement: Andantino con brio op. 62
4 3 4 3
1
1 4
2
=70
2 1 2 1
2 3
3 3 3 1 3
1 1 4
1 1
1
3 4
I III III
1 4
4 3 2
1 1
1
2 2
1 1 1
2
1
5 6
2
III V
II
I
3 3
4 4 4
2
3 1 1 4 4 2
2 4 1 4
3 1 1 1
3
2
1 2
2 1
1 2 1
7 8
rit.
3 I
I
2
1 1 4
2
1 1 1
4
(2)
4 3
1 3
9 10 3
=65 =60 =60 =45
a tempo
I
I
1
1 2
1 1
3 1
4 3 4 3 3 2 1
4 1
1
3 3 3
11 3 12
=70
accel.
3 2 1
1 4 1 2 4
3
2 4
3
3 3
1 4
3 3 1 1
13 14
=75
3
a tempo
VI
VI V
III 4 4
1 2
1 1
4 1
3 1
2 2
1 1 3 3
(2)
15 16
=70
III
4 4
2
1 4
1 1 3 4 3
1 2 1
1 2
3 3
2 1
1 2
17 18
rit. a tempo
I
II I
1
1 1 1
1
3 3 3 3
3 4
1 2 2
4
1
19 20
=65 =60 =55 =50 =70
III
1 3 4 1 2 1
4 2 3 2
3
4 (3)
2 1
3 1 (4)
3 1
21 22
3
4
I
I
4
4
1 3
1 2 1
1 1 4
3 3
2
1 1
(4) (5)
23 3 24
3
2 1 1
1 1 3 1
2 2
3
25 26
I IV
4
4 3
1 1
1 2 1 3
1 1 2 1 2
3 3
(3) (3) (3)
1 (3)
1
27 28
IV III
III
III
4 3 3
1
1 1 4
3 4
3 4 4
1 4 3
3 3
(3) (3)
1 1 1
1
29 30
5
rit. accel.
III I
1 4
3
4
3 [5]
4 4
1
31 32
=65 =60 =50 =55 =60 =65
a tempo
V IV
III
1 1 4 4 1
1 1 3 3 3
2 2
1
[6] 1
2 1
1
33 34
=70
rit. accel
I I
1
4 1
3 1
2 2 2 2 1
3 1 4
3
3 4
3
1
1 1
35 36
=65 =60 =65
a tempo rit. accel.

I
III
II
4
1
3
1 1
4 3
3 1
2 2 1
3 2
2
1
(2)
(6)
37 38
=70 =65 =60 =55 =60
6
rit.
[2] [1]
39 40
=65 =60 =55
2. Movement: Andante
4
4 3
1 4
3 3 3 3 2 1 4 1
2
2
2
1
1 3
41 42
=60
III
4
4 4
4 3
3 2 3 3
2 2
4 1 3
3 1 2 3
2 2
1 1
1
(3) (3) (3) (4) (5)

(2) (2) (6)
43 (3) (3)
44
(5)
III
4 4
1 4 2
1 2 1 3 1 3 4 3
1 1
1 2
1
45 46
7
4 4 1 4
3
2
2 3 2
3 3
2
47 48
V
III
4
3 1 1
3
1 1 1 3 2
2 1 1
1 3
2 2 2
(3)
(5)
49 50
II
4
4 4
2 3 1
3
3 1 3
1
2 2
1 2
1 1 (4) (2)
51 52
accel.
1
2
53 54
=65
8
4
3 2 3 2 1 3
1
1 1
2 3
1
2
55 56
=70 =75 =80 =90
II
3
2 1 4
1 3
2 1
1
2
(3)
57 58
II
3 2
3
1
1
1 1 2
2 1 2
3
59 60
IV V
1 1
1 4
3
2 3
3 2 1 1
3
61 62
9
II
4 1
1 4 3 3
3 2
2 2
2
1
3
63 64
VII
1 2
2 1 4 2
4 4
2 3 1
1 1
3 2
(4) (3) (3) (4) (4) (5)
65 66
rit.
V IV III
VII
1
4 1 1 4 3
1 3 1 3 2 4 2 2
1 4 4 2 4 2 2
3 1 3 3 3
3
2
1 1
67 68
=85 =80 =70
III
accel.
4 3 3 2
2
3
2 3
2
1
1
(3) 1
69 70
=75
10
III
II
1 4 4
3
1 3 1 2 2
2 2
3 3 1 2 4 4
3
2 3
3
2 1 1
1
(3)
(6) (2) (2)
71 72 (3) (3)
(5)
accel.
IV
I
3 4 4
1 1
2 2 3
1
1 1
1
1
73 74
=80
accel.
4 2 4 4 3 4 3 2 3
2 4 2
3 3
1
3
1
75 76
=85 =90
1
4
1
1 2 1
2 1
1 3
1 1 1
2
2
77 78
11
V V
III
1 4 2 1
2
1 1 1
4 1 1
4
1 4 4
3 1 3
1 1
2
79 80
2 1
1
3 2
3
3
81 82
II III II
1 4 4
4
3
1 1 1 1
2 2 1
1 1
1 (2) (4) 3 1
3 3 3 3
(5)
2 2
83 84
IV I II
II
4 1 1
3 2 1 2 1
1
3 2 1 3 4 2
1
1 3 (4)
1
(5)
85 86
12
III VI V III
1 3
3 4
1 1
1 3
3
2 1 1
1
1
1
87 88
II I
4 3 3 3 4 4
1 3 3
2
1
1 2 2
1
89 90
I V
3
4 4
4 4
4 4 1 4 3
3
3 2
2 (2)
1 1
1 2 (2)
(5)
1 (4)
(2)
91 92 (5)
III
V
3 3
3 3
4
4 1
1
4
4 4 1 1
3 3 3 1
2 3 1 4
2 1 2 1 3
1
1 2
(3) (4)
(5) (6)
93 94
13
III
II
F ine
1
1 3 2
1 2
3 2 2
3 3 3
1 1
1 2
1
(5)
(5)
95 96
Splinter #2 (2006) - Andante op. 63
rit.
4
3 2 3
1 1
97 98
=60 =55 =50 =45 =40
a tempo
I I
4
1 3 1
1 1 1
1 2
3
3 4 3
2
1 1
99 100
=60
V
III
4 4
4 3
1
2 1
4
1 1
1 3 2
2
(4)
3 (2)
(3)
101 102
14
VI III
1 2 4
1 1
3
3 2 2 1
1 1 1
2
1 3
1
103 104
rit.
III
I
3 2 1 2 1
4 1 1 4 1
1 4
2
1 3 3 3
2 3
1
105 106
=55 =50 =45 =40
a tempo
1
1 3 1 1 3
2 2
3
3 2
1
107 108
=60
4 4 1
2 3
1 3 1
109 110
15
4
1
3 2
3 3
3
1 2
1
1 2 1
1
111 112
rit. a tempo
I
I
V III
3 3 3
4 3
4
1 3
1 1 3 4 4
3 1 4 1
1
(2) 4 1
3 3
2 2
2 1
1
113 114
=55 =50 =60
VI
V IV
I 3 III
V 3 3
3
3 4 3 1
4 4
1 1 2
4 4 3
1 1 4 2 3 1
2 1 3 4 1
3
4 2 4 1 1
1 3
1
3
3 3
115 3 116
III
I
3
2 3 1
2
1 1 2
1 3 1 3
1 3
3 2 1 4
2 4 3 3 4 1
1
4 3
1
3 3
117 3 118
16
1
1
[ 99 ] 3
[ 100 ] 1
119 120
III
IV III
1 3 3
3
4 3
2
3
1 1
4 1
1 1
121 122
III IV III
VI
1
4 4
1 1
3 3 3
3
1 1
4 1
1
1
123 124 (3)
rit.
Fine
3 4 4
1 3 3 1
1 4 4 3 1
125 126
=55 =50 =45 =40
1
No. 6 Uwe Warneke

BERGKRISTALL
op. 64
Splinter #3 (2007) - 1. Movement: Andante
rit. accel.
1
4
3 4
3
3
2 3
2 2
1
3
3
=60 =40 =45 =50 =55
a tempo
3
3 2
3 2
4
1 1
3 2 1 4 3 3
=60
rit.
II I
3 2 2 2
3 3
3 4
3
2
5 1
1 1
6 1 1
=55 =50
2
a tempo
III II
2 1 4
4 1
4
1 2 1
3 3 4 2
1
2
1
1 3
7 8
=60
1
2
2 2 2 2
3 3 3 3 2
9 1 3 10
1 1
1 1 4
3
2
3 3 2 3
4 4
11 12
rit.
4
2
3
13 14
=55 =50 =45
3
accel. a tempo
II
1
1
4
1 3 1 4 4
2 3 1 1 3
2 4 3
2 3 3 1
3
15 16 2
3
3
=50 =55 =60
accel.
I
2 4
2
3 3 3
1 2
2 2
1 2
3 1
17 3 18 1
=65
II I
1 2 1
4 2 4
3 3 3 2 3 4
2 3
1 1
1 2 1 1
19 1 20 3
2
=70
rit. a tempo
[4]
1 2 1
4 4 2
3
4 2
21 2 3
1
22
=65 =60
4
[5]
3
2
23 24 1 3 1 2 1
2 1 3
3 1
4
2
1 3 3
25 2 1 26 1
III
3
4
4 2 4 2 4 2
1
1 1
27 28 1
III
I
3 1
1
2
1 4
2 1
4 3
1
29 1 30 1 1
5
rit. accel. VIII
[6] 1
2 1
4
3 3
2 3 2 4
3 1
3 4 (5)
3 2
31 1 1 32
=55 =50 =55 =60
VI
III accel.
1 4 4
1
1 3 1 1 2 2 1 1
1 1 4
1
3 2
2
3 3
33 34
=65
a tempo
3 4
1
2 2 1 1 1
4 1 2
1 3 3 2
3 2
4
3
35 36 1 3
=70 =60
VI
IV III
4 3 3
1 1
4 4
3 3 3
1 1 1
3 3
2 2 2
4 4 1
1
37 3 1 38 1
6
III
IV
3 IV 3 III
3
4 3 4 4 4
3 3 3 1
1 1 2 2 4 3
4
1 1 1 2
3 1
3 2
39 40 1
(3)
III
4
1 1 3
2 1
2 1
1 4 4 2
2 2
41 1 1
1 42
3
(6) (6)
3
III
II
4 4
4
4
3
1 1
2 2
2
43 44
Fine
rit.
I
I
3
2 2 2
3
3 4
3 3 3
45 46 1 1
=55 =50
7
2. Movement: Allegretto
accel.
IV
2 2
4
1 (4)
47 48 1
=50 =55 =60
a tempo
1
3 1
2 3 1
4 3
49 1 3 50 2
=65 =70 =75 =80
XII
rit.
4
3 4
4
3 4
(5) (2)
(5) 1
2
51 52
(5)
(6)
III IV
4 1
3
1 1
1
4
1 1 3
3 4 1
1 4
53 1
54 1
(6) (6) (6)
8
II I II
1
1
2 3 1 2 1 4 1
1 (2)
1 1 3
1 1
55 56 1 3 2
IV II I
II
II
3 3 3 3
4
4
1 4 2
1 2 2
3 2 2 1
1 1 2
1 3 1 3
3
3
57 1 1
58 1 2
rit. a tempo
I
3 4
2
4
2 1 1 2
2 3
1
59 1
60
3 (4)
=75 =70 =80
V
IV
I
4 4
3 1
1 4
1 3 1 1 1
2 4
1
3
61 62 3
9
II
I
I
3 1
2 1 4 4 2 1 1
2
3 3 3 4
4 4 2 1 3
3
63 1
1 64
3 3
4 4 3
1 1
1
2
1
1 2 3 1 3 3
3 4 3
3
3 2 66 1 4 2
65 3
3
3
3 3
II I
3 3 3 3
4 3 1
2 4
1
1 4 1
1
2 1
4 4 1
67 1 1
68 2
3 1 3
2
3 3 3 3
rit. a tempo
3 3 3
3 I
II
1
4 4 1
3 1 1
1 2 3
1
2 3 1 2 3
2 1
69 70 2 4 4
=75 =70 =65 =60 =80
10
rit. I accel.
II
3
3
1
4
3 4 4 2
1 2
4 2 1
3 3
3 1
4
71 1
4
1 72 1
=75 =70 =65 =60 =55 =50 =55
III
a tempo
3
2 1 4
4 3
1 1
1
1
2
73 74
=70 =75 =80
I IV
I
III
1 1
1 1
3 1 2 1
4
1 1 4
1
1 3
75 2
1
76 1 1
accel. I
1 1
2 1 2 1
4
2
3 1 3 1 3 4
3 3
1 4
77 78 3 1 3 1
=85 =90
11
I
III IV I
1 4
1 1 1 4
2 1 4 2
3
3 3 1
3 4
3 2
79 1 4 4
1 80 3
1
III
I
3 4 1
2 1
1
1 4
1
2 1
3
81 82 1
1
rit. a tempo
III
II I
4
4
2 1 3
2 1 1
3 1 1
3
3
1 2 1
1
83 84 2 3 2
1
=85 =80
rit.
I III
III
I
3 4 3
1
1 4 1 1 3
3 2
2
85 2 1
1 86 1
=75 =70 =60
12
a tempo V IV
3 3
3
4 4
4
3
1
1 2 3
2
1 2
3 1
87 88 1
=80
III I
3 3 3
3 3 3
4
4
1
3 3 3 4 2 1
2 3 4
1 1 1
3
2 2
1
2
89 1 90
I IV
4 3
3
2 1 1 4 3
1 2
91 1
3 92 1
3 3
3 3
rit. Fine
VI
I
III IV
[55]
4 1 1 1 3
1
2 1 4 2 1 1
3 4 3
3
3
1 3
3 2
93 1 94
(3)
(5)
=75 =70 =65 =60
13
Splinter #4 (2007) - 1. Movement: Allegretto op. 65

II
II I
4 4
4 1
1
1
3
2 1
1
95
1 96 1
=80
II
III
I
1 1
4
1 2
3 1
1
4
3 4
97 3 98 1 1 2
(6)
III
4 2
3
2 1
1 3 1
1
99 2 100
=80
I
II
2
2
1 3
3
3
101 1
102 2 1
1
14
IV
II II III
II
4 1
1 1 1
4
2 2 1
3 4 2 1
4 1 2
1
103 1 1 104 1
1
V IV II
III
3 4 4
1
1 2
1
1 1 1
3 2 1 3 3
4
4 1
105 106 2
1
(5) (6) (4)
(5) (5)
III
4 3
3
1 2 2
107 2 108 1 4 1
IV II
V VII
IV
3 3
4 4 1
1 3 4
3 1 4
2 4
1 1 1
1
1 3 3 2
2 3 2 1
1
109 110 3
15
II
4 1
3 3 2
4
2 1
2 1
111 1 112
II II
2 1
4 4
1 1 3
3 2
3
1 1
4 3
3 1
113 1
2 114 1 2 4
1
II
1
1
1
3 1 3 4
4 1 2
4
115 1 116
3
3
3 1 3
3 3 1 1
4 2 1
117
4 118 2
16
2
3 2
4 1 3
2
3 2
1 2
119 1 120
3 1
1 2
1 1
2
2
121 122 1
rit. a tempo
2 3 1 1
1
3 1 2
(3)
123 124
=75 =80
rit. a tempo
II IV III
2
3
4 1
1 1 4 1
3 2
1 3 1 (2)
2 2
(3)
3
125 2 1 126 3
=75 =70 =80
17
4 1
1 3 1
1 1 3
2
127 1 128 1
III IV I
II III I
3
4 4 3 1 1
3
3 1 1 3
2
1 2 1 2
1 2
1 3 3
1
129 1 1 130 1 1
III
I
3 4 4
1
1 1
1 2
1 1 1 3 3
2 2
1 2 2
4
131 132
rit.
III I
2 1
4 1
4 4 3 1
2 1
3
2 1 1 1 3
1 2 1
133 2 134 2 1
1
(2)
(3)
=80 =70
18
I
II III IV
4 2
4 3
1
1 1
1 2 3 2
2 1 3
1 3
2
2 1
1 1
135 136
=80
I II III II
2 2 1 1 4
3
3 3 3 3
3 1
2 2
1 4 4
1
137 138
II
rit. I
accel.
1 1 2
4 4 1
1 1 1
3 3
3 2
1
2
139 1 140 2
1
3
=75 =70 =75
I
a tempo
I
1
2 1
4 4 1 3 2
3 2 4
2 3
4 4 3 4 3
1 1
2
141 1 142 1 1
=80
19
I
IV II I II
2 2
4 1
2 3 1 1 1
2 2
1 1 3 3
3 3 4
4 2 3
4 3
1 1
143 1 1 144 2
(5)
rit.
II
2 3
1 1
4
145 146 1 (6)
3
=75 =70 =65
IV accel. VI
1 4
2 2
1 3
1 4
3
147 148
=70 =75
a tempo
V III II
4 4
3
1 1
1 1 4
4 3
2 1 3 (5) 1 (5)
2 (5) 1
(6)
149 150
=80
20
V VI V
4
1 3
2 3
1 1
4
4
2 2 1
4 4
1 3 1
151 152 1
3 3
1
IV V
1
4 3
1 3
3 1 3
4
1
4 2 1 (2) (2)
4 1
2
153 154
II I
4
1
2 1 3
2 2 2
3
3 3
2 3 1
1
155 156 1 1 1
4
1
2 1 1
3 2
3
1 4 2
3 3 2
1
157 1
158
21
I II
4
4 1 1 4 2 2
3 2 1
3 3
2 3
2
1 1
159 160 1
1
2
2 3
1 1
2
161 1 162
3
(5)
V II
4 2 1
4
4
2 2 1 3
4 3 3 3
1 1
1 1 1 2
2
163 164 2
4
4
2
4
1 1 1 1 1
3 1 2
3
2 1
3 2
2 1
165 166
3 3
3 3
3 (3) (2) (3) (5) (6)
3 3
22
I I
3
1 1 2 1 1
1 3 2
3 4
2 2 1
1 1
167 168 1
2
1 3 1
1 2
169 3 4 170
1 4
4
2
3
2
3 1
4
171 3 172 3
III IV
1 3
1
3 1 1
4 1
173 3 174
23
IV V
4 4
1 1
3 2
2 4 1 4
4 3 2
4 3
3 2 2
1 3
175 1 176 3
4
2 2
1
4 1
3
3 2
2 3
177 178 1 1 3
1
rit. accel.
1 2
3
2
3
2 4
179 1 3 180
1
=75 =70 =65 =60 =65
a tempo
4 4
4
2
3 1
4 1
1 1 1
181 182 3
(2) (2)
=70 =75 =80
24
4 1
4
3
2 2
4 1
183 184 3 3
4
2 1
3
185 3 2 186 3 3
rit.
1
4 2 4 2
3
1
1 1 1
187 188 3 3
=75
Fine
III
2
3 1
1 2 1
3
1 3 3
189 190 1 3
=70 =65 =60
25
Splinter #5 (2008) - 1. Movement: Moderato

op.66
rit.
1
2
1
191 192
=65
III
3
2
193 194
III
4
3 3
4
2 1
3
2
1 1
195 196
a tempo
1
2 1
3 1
3
2
2
197 198
=70
26
IV
1 2
2
3
199 1 200
V VII VI V
1 1
4
2 4 1
1 3 1
3 1
2 1
2
1 2
1
201 1 202
IV I
4 4
1
3 1
3 2 2
203 1 204 2
(3) (3)
(6)
IV VI
1
1 3
1
1
1
2 1
205
1 206 2
27
2
1 4
2 2
1 3 3
1
207 4 1 208
(5)
3
IV
4 4
1
2
1 1 4 1
3 1
3
2 2 2 3
1 4
4
209 1 210
II I IV III
1 2 1
3 1
1
1 4 3 1
1
3 1 3
2 2 (5) 4
211 1 2 212 2
1 3
II
1 4 4
2 3 2
4
3
3 1
1
213 1 214 1
4
(5) (5)
28
IV III IV
3
3 3
1 4
1 3
1 2 1
3
2 3
1 1
215 1 1 216
IV
3
1
2 1
1 1 1
1 2 3 3
3 4 4 2 4
1 1 3 1 4
4 3
3 1 1
217 218 1 1 1
3
3 3 3
IV III
3 3
3
2 4
3 1 1 1
2
1
4 1
219 220 1
(6)
rit. accel.
II
4 1 2
2 1
4 3
(2) (4) (3) 2 1 2 1
1 1 3
3 4 1 1
221 1
3 222 3 4 1
(2)
(6)
3
=65 =60 =55 =60 =65
29
a tempo rit. a tempo rit.

III
3
3
4 2
4 2
2 4
1 3 3 1 1 3 1
3 1 3
(3)
223 224 2
1
=70 =65 =60 =55 =70 =65 =60 =55
a tempo
III
1 1
2 3
3 2
225 226
=70
III
4
1
2
2
3
4
3
227 1 1 228
1 4 3
2
2 3 3 3
1 2 1
(2)
1 (4)
3
1 1 1
229 230 2
1
(4)
(6)
30
V IV III
4
1 3 1
2 2
1 4 3
2 1
1
2 3
1
3
231 232 1
1
II III II
3 2 2 2 3
4
3 4
1 1
2
233 1
1 2 234 1
III
2 3 4 2 1
2
3 1
1 3 4
1
235 2 1 236 3
1
1 3
2 3
237 1 3 238
31
2. Movement: Moderato
III IV
1 4
2 1 1 4 2 4
1
3
3 2 3 2
4
239 1 1 240
(6) (5) (5)
=70
III I
2
1 3
1
1 1
1
241 1 242 1
accel. a tempo
III
2 1
3 1
3 2
4 1 2
1
243 1 244
(6) (5) (5)
=75 =80 =85 =90 =70
4 1
3 1
2 2
3
245 246
32
III
4 3 2 2 3
3
1
4 3 4
1 1 1 1
247 2 248 2
1 2
(5) (5)
4 1
4 2 4 3 2 4 2
3 1 1 3 1
1 3
2 3
249 2
1 2 250 1
(3)
II
4 4 4
1 4
1
2 2 1
1 1 3 3 2
3 2 1 3
251 252
(4)
V IV V
1 2
1 1 1 3
2 4
4 1
(4)
3
253 254 1
(5)
(6)
33
V III
4 4
1 1
1 1 3 1
2
1 1 3
2 3
255 256
2
2 2
257 258 3
3 4 4
3
259 260 2
(5)
III IV III V
1
1 2 1 1
1 2 3
3 3 3 1
1 2 3
3 1
1 1 1
3 2
261 262
(5)
34
III I
4 1 4 2
3
4 1 3
4
1 3 4 1
4 2
1
1
263
2 1
1
3 264
III II
1 4
4 1 4 3
3 2 3 1 3 1
1
1 1
2 2
265 266 2 1 1
1 4 4
1 3 4 4 4
3 3
3 1
4 3
1 1
267 268 3
IV
2
4
2 1 4
3 3 1
2 1
1 3 3
269 1 2 270 1
(3) (5) (5) (6)

(6)
35
accel.
4 3 2
1 1
4 1
271
2 272
(6)
=75
rit.
I
4
1
3 3 1 1
3 4
273 274 1 4
1
3
=80 =75
a tempo
I
4 4 1
2
275 3 276 3
=70
1
2 3
1
2
4
277 278
36
3. Movement: Andantino
3 1 2 1 2 1 4 1 2 1 2 1
2 1
3
(3) (3) (4) (3)
279
=65
III II IV II
4 1 1
3 3 4 4 4 4 4 4
2 4 4 2 2 2 1 1 2 2
1 2 1 4 1 4 2 3
4 1 1
2 3 3 1 3
1
280
1 2 281
III I
1 4
4 1 1
1 1
1
3 4 1 1
2 4
2 1 3 4
1 1 3 1
282 2 3 283 1 3 3 1 3
(2) (5) (5)

3 3
I
I
3
1
1 4 4
4 1
3 3
2 3
1 2
1
284 2 285 1 3
3
3
37
rit.
4 3 4 3 4 4 3 4 3
1 3 3
3 2
286 1 287 1
4
3
=60 =55 =50 =45
a tempo accel.
I II
II
2 2 2 2 1
2 1 1 1 3
1 1 3 3 3
1 4
4 3 1
1 2
288 289 4 2
=65 =70 =75
II
3
4 4
1 1 1 2
3 1 1 1 3 1
2 2
1 4
290 291
(3)
II II II
4 1
3
1 2
1 4
3
(2) 1
4 3
3 4
292 1 293 3
38
rit
II
I
2 1 3
1
3 1 1 1
1 2
4
1 1
294 3 295 4
2
=70
3 1 3 2 1
2 2 4 1
1
4
3
296 297 2
1
I II I
4 1 4 3 1 1
3 2
3 1
(3)
4 2 4
3 3
298 1 2 299 1 3
2 1 1
4 1
3
4 3
2 1
4
300 1
301 2 1
3
3
39
VI IV III
1
1 1 4
3
4
3 3 2 1
2
3 1 2
302 303
(5) (6)
4
3 1
1 3
1 4
1 2
4
304 1 305 4
a tempo
I III
1
4 1
3 3 1
3 2 3
306 307 1
1 2
=65
III
4 1
308 309 2
1
40
accel.
1 1 1 4 3
3 4
2 1
3
310 311
(5) (5)
=70
III V III
1 4 4 1
2
3 3 1 4 3 2 1
1 1
1 3
3
1
2 1
312 313 2 1
a tempo rit. a tempo

III II III
III IV
1
3
3
1 1 4 1 1 1 1
3 3 3
1 3 4 3
1 2
314 315 4 1 2
(4)
(4)
=65 =60 =65

accel.
I III
4
1
3
1 3 1 3 2
4 2 2
3
1
1
4
1 1 4 3 1 4
316 2 3 317 1
1
=70
41
a tempo rit. a tempo

IV III II II III
4 2
2 3 2 1
1 1 3 2
3
2 3
2 1
4 2 3 1 1 1
318 1 3 319 1
=65 =60 =65
III I IV VII
1 2
3 2 2 2
1 3 1 4 2
2 1 3
4 (3) 3
1
1
320 1 321 1
=60
a tempo rit accel. a tempo
VI V VII I
1
2 1 4 1
3 1
2 2 2
3 3 1 3
3
1 2 4 3 3
1 1 1
3
1
322 323 1
2
3 (5)
=60 (5)
(5)
=65 =55 =50 =55 =60 =65
II I
2 1
4 1 1 2
2 3
1
3 3 3 4
324 1 1 325
42
II
1 1
4 3 1 4
2 2 1
2
326 327
rit.
I
2 1 2
3 3
1
4
1
328 1 329
=60 =55 =50

a tempo
III I
1
1
1 2 4 3
2 4 3
4
330 331
II
1 2
2 3
3 2
1
3 4 2 4
1
332 333 1
43
III I I
3 1
2 1 4 1
2
3
1
334 1 1 335
1
I I
3 1 4 2
3 3
1 1
2 4
336 337
I
III I
2 2 2
3
1 3 1
1
1
338 339 1
I IV
1 4 3 2
2 1
4
3 1
4 4 3
1 1 1
340 341
44
IV II
4 3 4
2
1 3 1
3 3
2
2 3
342 343 1 2 1
IV III II I III
3 3
4 1 3 4 2 4
2 1
4 3 2 4
3 1 3 2
1
1 2 1
1
344 1 3 345
(2)
II IV
IV
1 4 4 4
3 4
2 3
4 2 3
1 3
1 1 1
346 347
3
(2)
II IV
3
1 3 3
4
1
348 1
1 349 2
45
I II
2
4
1 1 3
3
1
350 351 2
(5)
rit. a tempo
III
1
4
3 3 4 1
(3) 2 1 3
1 2 1 1
1 2
352 353
(4)
=60 =55 =65

III V
3
1 4
2
3 1
3 2
2 1
1 1
1
354 355
Fine
4 4
2
3 2
1 1
1 1
356 2 1 357 3
1
No. 7 Uwe Warneke

BERGKRISTALL
2 Studies for Solo Guitar
We are floating like oildrops in the ocean of cognition. Each of us encapsulated in his own world of truth.
To see the last ground means to burst - and: to peter out.
Splinter #6 (2009) - 1. Movement: Larghetto op. 67

I III
3 3 3
3
4
2 1 2 3
1 3 4 4
1 3 1
2
1
1
2
=50
IV VI
3 3
3
3
4 1 4
3
1
3 1
2 2
3 3
1
(2) (3) (3)

1 1
3 4
III IV I
3 3 3 3
3
3
4 4 4 1 3 2
4
4 3 4 2
3 4 1 3 2 1 3
1 3
4 1
3 1
2
1 1
5 1 6
BERGKRISTALL #7. 2 Studies for Solo Guitar. (c) Uwe Warneke 2009. All Rights Reserved. US Copyright Office, PAu 3-432-147
2
I III
II III
2 1
4
3 3
1 1 4
2 2 1
3 2 1 2
7 1 8
I IV II
4 4
3
1 3 2 3
4 4 4 1
3
2
(3) (3)
1 (4) 1 2
9 10
1 2 1
1
2 1
3 1 3
11 12 3 1
4
2 1
4 2
1 3
3
13 14 1
3
II
I
4
1 3
1
1
2
3 2 3 (2)
1 (2)
15 2 16
IV III I
4
3
2
2 1 4 2 1
1
(2) (2) 1 1
17 18 1
I
I I
3 1
3 2
3 4 4
4 3 2 1 3
2 1
19 1
2
1 20
3 3
(5)
I
I
Tritonus 3
3 3
3 4
2 1
3 1 2
3 1 2
1 4
2 4 2
3 2 4 1
3 4 4 4 3
21 1 1 1 1 22 2
d# b5
3 3 3 3
4
II
4 2
2
1
1
1 3 3
2 1
1 2
1 3 2
23 24 4
E-Basspalette E 7/#3 a E maj7
II II
3
3
4
1 1 1
3
4 4 3
1 1
1 1
2 2
3 1 3 1
25 26 1
A F maj7 c# 7
accel. rit.
II I
1 3
3 1
2
4 4 4 2
1
27 2 28 3 3
=55 =60
f# 7 =60 =65 e 7 =55
C maj7
a tempo
[13] [14]
29 30
5
[15]
31 32
4
3 3 1
3 1
4 2
2 1 3
3
33 34 2
III
2 1 4
4 1
1 2 1 3 3
3 1 4
1
4 3
3 1
35 36 1 1
1
1 2
4 3
4 1 1 4 2
3
37
3
1 3 3 38 3 3
(6)
6
I
4 4 1
3
4 1
1 1 3 3 3
3 2 2
39
2 40 2
(5)
=70
I II
4 3
4
1 3
3 1
1 2
41
2 42 3 1
1
(4)
4 4
1 1
1 3
4 3 2
(4)
1
43 44 1
G
(4)
G-Basspalette
2
4 4 4 4 4
1 3
1 2 1
3
3 1
45 3 46
G #3
g
7
rit.
I
1
1 1
1
3 2
47 3 48 3
=65 =60 =55

I accel.
I
3
3
4
1
4 4 3 1
3
1 1 3
1
3 3
49 50
=60 =65
I III
4 2 1
1 1 4
4
3
51 1
2 52
(5)
=70
rit.
2
2 4
2 2 1
4
1 3 1
53 1 54
=65 =60
8
a tempo
III
2 3 4 2 1
4 4
1 1 4
(3) (3) 1
1 1
55 56
=70
rit. accel.
III
1 2 4 4
1 3 3 2 1
2
3
4
4 3
57 1 2 58 1
=65 =60 =65

rit. accel. a tempo
III IV
2 1 4 3
4 1 4
2
3 3 3 1
1 2
59 60 1
=60 =65 =70
I II
4
4 1
1 4
3 3
1 4
3 2 1
1
61 62
9
rit.
I III
3
1 2
4
1 3 2 1
3
3
1
1
63 3 1 2 1 64
=65
accel. a tempo rit.

III II III
4 2 1
4 1 3 2 3 2
3 4 3
3 1
65 2
1 66 1
=60 =65 =70 =65 =60
accel. a tempo
1 3 1
1 3
4
67 1 68
=65 =70
4 2 3 1
1
2 3 2
3
69 70
10
accel.
2
1
1
4
3
71 72
=75
4 2 4
1
3 2
73 74 3
=80
1 2
1 3
1
1 1 4
75 1
2 76
rit.
4 3 1 2
4 4
1
3
77 78 3 1 3
=75
11
a tempo rit.
I I
I
1 1 4 4
4
1 1 1
1 1
3 3 3 2
2
79 80 3 1
=70 =65 =60
III I
2 1 1 3 4
2
1
1
81 82
accel. a tempo III

I VIII
1
2 1
3 2
3 1 1 1 3 1
2 4 2
1 1
2
83 1 84 1
(4) (5)
(6)
=65 =70
III I
1 4 1
3
3 3 1 3 1
3
1 3 3
85 86
12
I II
4 2
4
1
1
3 2
1 3 3 4
87 1 88 3
III
1 4 4
1 1
4 4 3 3
3
1 1
3 3 1
2 2 2 2
89 1 90 1 1
(5)
I IV III
1 1 4
3
4 4 4 1 2
3 1
3
1 1
2
3
91 92 1 2
I I
4 1 1
3 1 4 4 1
1 2
3 1 3
2 1 4
93 94
13
1
3
4 3
2 2 3 1
95 3
1
2 96
(4)
I III
4 4 3 1
4 4
1 4 1 1 3
2
3
2 1 (3)
3 1
97 98
(2)
III
1
4
1 1 1 3
2
3 4 4
2 1
99 3 3 100 (2) 2
III I
1 3 1 1
4 4 2
1 1 4 4 3 3
2
1
2
101 2 3 102 (3)
3
14
3. Movement: Allegretto rit.

I II I
4 4
3 1
4
4
1
1
103 104 1
1
=70 =65 =60 =55

accel.
I
I
4
3 1 1 4
3
2
1
105 106
=60 =65
a tempo
2
4
1 4
3 1
4 3
107 1 108 3
=70
I
I
2 1
1 1
3
4 2
1
109 3 110 1
15
4 1 1
111 3 1 112
3
4 4
4
1
113 1 114
4
1
2
3
1 3
2 3
115 116
(2)
(6)
III
VI VIII
1
1
1 1 1
1
3
4 2
2
117 118
16
VI
4 1 1
3 1 4
3
2
119 120
VI V
1
1 4 3 1 3
2 1 1
1 1
4
3
2
121 122
I IV III
4
1 3 3 1
4 4 1
3 1
3 1
4
1
123 1 124
IV II
II
1 3 2 2
2 4
1 3
2 1 2
1
125 126 1
17
II III
1 4 4
3
3 1 3
1
2
127 1 2 128
I I
II
4 1 1 1
3 2
1 1
1
4 3 4 3
1 3
2
129 130
I I
1
4 1
3 4
3 3 4 1
2 1 3
2 1
4 2
131 132
4
3
3 2
1 2
1
133 134
18
III
1
1 1
1
2
4 2
135 136
(6)
I
II I II III
1 1
4 4
3 1
1 3 1
4 4 3 2 1
1 1 3
1 1 3
1
137 2 1 138 1
III I III
3 4
1 4 1
1 1 3 1 1
2 1
4 2
139 140
IV III
I
1 4 1
3
4 1 2
1 2 1 3 1 4
3
1 2 2 4
1
3 3 3 1
141 3 142
(6)
19
IV IV
1 4
1
2 1
3 3
1 2
4 3 4 3 1 4 3
4
1 1
143 1 144 1
(5) (5)
III
3 3
2 1 1
4 3 3
2 3 3
4
1 1 (2) 4
3
2
145 2 146 1 2 1
VIII VII V
4 3 4 3
4 3
2 1
2 2 2
3 2 1
1
1 1 3
1 1
(2)
147 148
III II
II
1 4 4
4 3
2
1 1 1
2 2
2
1
149 150
20
1 2 2 2
151 1 152
2 2 2
2
3
153 154
I II
1 2
4 1
2
3
3 3 1 3
155 156 3 1
II III
3 1
3 1
2 1
2 2
3 3
157 158
21
I I III
4
2 1 2 1 2 1
1
1
4
159 3 160 1
III I III
2 1
1 4 4
3 2 1
4 1 4
1 4 3
4 3 4 (3)
4 1
1 1
161 162
IV I
2 2
4
2 1 3 3
4 3 2 1 2 2
4 3 4 3
4 1
1 3
1 1
163 164
2
Fine
1
165 166 1
22
Splinter #7 (2009): Allegretto op. 68

I
2
2 2
1 1
1
4
167 168
=70
2
1 1
2
1
4
169 4 170
II
4 2 1
2 1
3
1 4
171 1 172 1 1
II
4 1 1
1 2 1 2 2
1 1
1
1 3
3 4 3
173 1 4
1 174
23
I
II
4
3 2
1 2 2 2
1 2 4 1
3 3 4
1 3 4
175 1 1
3 176 2 1
II
3 2 4
2 1 4
3
4
(5) (4) (3)
1 1
177 1 178 1
(2)
III II II
I
1 2 1 2 1
3 1
4 1 1
4 4
3 1
179 2 180 1 1
I IV
1 4 4
3
3 2 1
4 4 4 1
1 1 3 1 3 1
3 3
2 2 1
1
181 1 182
24
I I II
4 2 1
1 4 2
1
4 3
2 2 1
183 3
1 1 4 184 1
I II
4 1
3
4 3 4
3
4 1 1
1
185 186 1
rit.
III IV VI V
1 1 4
3 4
3
1 1 1 2 3
1
2 1 1 1 4 4
3 4
4 4 2 1
187 188
=65
a tempo
I II rit
3 1 4
2 4 4 4 1
3 4
1 4 2
(2) 1 3
1
4 1
3
189 190 2 1
=70
=65
25
II
accel.
2 2
1
1 3
191 192
=60 =65
a tempo rit.
2 3
2
1
1 1
1 2 2
1 4
1
193 194
=70 =65
II
4 1 1
1 3
1 1
4
195 3 196 1
=60
II
accel.
3
4 4
2
1
1 2 2
1 1 1 2
3 4 1 4
1
4 4
197 1 198
3
3
=65
26
a tempo
II
1
1 4
2
1
199 2 4 200 3
=70
II II
3
3
4 4 1
1 1
1
1 1 2 2 1
1 1
3 4 3
3 3
1
201 202
3
3 3
3 3 2 2
2 2 4 2
1 4
2 2 1
203 204 1 1
II
3
3
3 3
4 3 4 1 3
1
1
1 1
1 2 1 4
1 4 2 3 1
3
3 4 3
1 1 3 3
3
205 1
206 1 4
1 1
3
3 3 3
27
IV II
3
1 1
2 3 1 4
2 1
1 2 3 3 1
4
2 1 4
3 4 1 4
1 2
207 1 208 3
I II I
2 4 1
2 4
1 1 4 4 3 1 2
4 3
4 1
209 1 210 1 3 1 3
IX VII
4
4 4
3
1
1
211 1 212
(6)
IV II
4
2 4
1
2
1 3 1 3 1
4 4 4 4
(2)
213 1 214 1
2
28
3 3 3 3 1
3 1
3
1 3 3
1
215 2 1 216 1
3
4
4 2
1
2 2
2
3 1 3
1 1 1
4 3 1
217 1 2 218 4
2 1
4
[214]
219 220 3 2
1 2 2
3 2
3
2
1
1
221 3 222 3
1
3
29
1 1 2
3
1 4
2 2 1 1
3 2 4 2
223 224
II VI
3 1 2
3
3 3
2 4
1
1 2 1
3 1 2
225 1 (5) 226
(6)
2 4 1
4 3
2
3 4
(3)
1
(5)
227 228
IV II rit. VII
Fine
3 1
1
4
2
2 1
3 3 3
(4) (3) 2 2
2 1
(5) (5) 1
229 1 230
1 (5)
=65 =60
1
No. 8 Uwe Warneke

BERGKRISTALL
op. 69
Splinter #8 (2009) - Andantino
II
accel.
1
4
3 1
4
1 (3)
1 2
2
=50 =60 =65 =70 =75

a tempo rit.
II I
4
3 2
3 4
1 3
1 1
3 2 2 4
=80 =75 =70
accel. a tempo
I
4
1
1
1
3
5 6 3 1
=60 =70 =75 =80
2
4
1
3
2
7 3 8
1 3
9 4 3 10 1
4
1 4 3
1
3 2
11 4 12 1
III
rit.
3 2
1 1
13 1 14 2
=75 =70
3
I
a tempo
4 1 4 4
3
2 2
1
15 3 16
=65 =80
4 1
1
3 1
17 18 4
1
accel. rit.
I
4
1
1
1 2
2
19 20 1
3
=85 =90 =85
2 4
2 3
3
4
1
21 22 1
4
a tempo rit. VI V III

II
3 3 3
3
3 2 1 3 4 4
1
3 1 2
3 1 1 1
2 4
1 2
1
23 1 2
(5) 4
1 24 1 2
(6)
3
=80 =75 =70
rit.
accel.
I II
V IV I
1
1 3
1 4
1 2 1
1 4 3 3 2
4 1
1 4 4 3
3 1
25 (6)
1 26 1
3 3 3 3
=75 =70
accel.
I III II I
1 4
3 2 1 1 1
3 2
2
1 2
27 2 28 2
1 1
1
=75 =80
a tempo
I I
1 2
2 1
2 3 2 3
4
3 1
29 3 30 1
=85 =80
5
accel.
[1] [2]
31 32
=50 =60 =65 =70 =75
a tempo rit.
II
1 1
33 1 34 2
=80 =75 =70
accel. a tempo
I
4
1
1
1
35 36 1
1
=60 =70 =70 =80
III
1
1 1
2
4 2
37 3 38 1
6
I
IV III
1 1 1
4
1 1 1 4
4 2 3
3 3 1 3 1 1
2 1 2
39 1 40
III
I
3
2
4 3 4 4 3 4 1 3
2 2
2 3 1 1
4
4
41 1 42 (3)
1
(4)
III III
2
2 3 1
1 1
43 1 44 (2) 1
(4)
V III
III
2
1 1 4
3
1
45 2 1
1
46 1 3
7
IV
III
1 3
1
3
47 1 48 1 1
1
rit. a tempo
I
1 1 3
2
3 1
3
49 3 50 1 1
=75 =70 =80
1 4 1
3
3
51 3 52 3 2
III
1
1
4 1
3
1 3
1
2 2 1
53 54
1
8
3 2
2 3
55 56
II I
3 1
4
2 2
2 2
1
57 58 3
4
3
3 2 2
59 60 1
1
rit.
3 2
Fine
1 1
61 62
=75 =70 =65 =60
9
Splinter #9 (2009) - Larghetto con moto op. 70
3
1
2
1
63 3 64
=60
III II
1
3 4
2 4
1 1
2 3 3 3
2
1 1
1
65 3 66
II
2
2 1 1
1 3
1 4 3
4 1
4 1
4
67 68 1
I
II
4 1
4 4 3
3
1
1 3 4
4
69 1
1 70
1 4 2 3
(3)
10
4
3 1
1 4
3
3
1
2 2 2
71 2
72 1
4
4
4 3
1
2
73 2 74 1
IV III
2
1
3
2
75 76 1
1
II
1
1 3
1
3 1
77
3
1 78 1
11
II
1 4
4
1 [65]
1
79 80
accel. IV III II
3
1 2 4
1 1 3
2
3
81
2 82 1 1
=65 =70
II
4 3
2 1
4 4
1 3
3 4
2
2
1
83 84 1
=75
II
2 2
1 3 4 3 3 3
1
4
85 86 1
12
I IV
1 3
3
3 3 3 4
3 1
2 2
4
87 88 2
Tritonus
II I
IV
4
3 1 1
3 4
3
4 2 2 3
1 1
89 1 90 1
(3) (3) (5)
Consonance
III
rit. I
3 3 3
3
3
1
4 1
1 3 1 1
2 1 1
2 2 3
1 2
3 2
1
91 1 92 1
=70
III III I IV III
3 1
1 1
3
3 4 2
4 1 3 1 1
4 1
2 1 4
1 1 3
2 4
93 94 1
1
(5)
(4)
13
IV II IV III IV II
4
1
2 4
2 1
3 3 4 1 2
3 3 3
1 4 2
1 4
1 1 3
4
95 1 2 96 1 3
II
rit. a tempo
II
4 4
1
1
4 1 4
3
3
3
97 98 1
(5)
=60
=65
accel.
III
1 3
3 3 1
2 2
[65] 2
99 100 1 1
=65 =70 =75

accel.
2 4
3
1
1
2 1 2
101 102
=80 =85
14
I V
4 1
1
3 3
1 2 1 4
4
1 1
103 1 104
III I
4 1 1 1
4 1
4 3
3 4
3
105 1 2 106 2
rit.
4
3 3
[97]
107 2 108
=80 =75 =70
rit. a tempo
II
Fine
4 1
3 1 2
109 1 110
[98]
=60
15
Splinter #10 (2009) - Andantino grazioso III

op. 71
V
4
2 2 4
1 1 1 1 1
4 1 3 1
3 3 2
2
3 (3)
1
111 112 (2)
1
=80
I I
1
1
3 3 1
1 1 2 1 4 2
4
1 (3) 1
1 2 2 3 3
113 114 1
II III
4 1
4
4
3 4 4
3 1 1
4 1
1 1
2 2 2 3
1 1
1
115 116 1
II I
II
4
1
4
2 3 4 3 3 3 3
3 1
2
1 4 4
1 1
117 118
16
II
1 3 4
4 4 1
2 3
1 1 2 2 (3) 3
4 3 1 3 2
2
4
119 120
(3) (3)
II I
1 4 3 1
1 2
3
3 2 1
2
2 3
4 1 4 3 1
121 122
4
4 3 3 1 1
2 2 4 1 2 4 1
1 3
(3) 1 2 (3)
2
(3) 1
123 1
2 2 1 124
III II
V
4
1 4
4
3
1 1 1 1 1 1
2 3 3 1
1
2 3 2
3 1
2 4 2
4
125 126
17
II V IV I II
4 1 4
3 1 2 1 4 3
1 4 3 2 1 1
1
3
1
1 1 2
1
127 1 128 1
II III I
rit.
4 4
1 4 3 3
1
1 3 1
1 1 3 1 1
1
2 3
3
(3) 2 2
129 130 2
=75 =80
accel. a tempo
4 2 1
3 1 1 1 1
2 3 2
1
2 2
2
3
131 3 132
=75 =80
1 1
4
2
3
133 3 134
[115]
18
II I
1
3 1 1
1 2
1
2 2 3
135 136 3
[116]
2 1
2 2
1
137 1 138 1 1
(3)
IV V VII III
3 4 1 3
1 3 1
2 1 4 1
4
1 2
2
139 140 1
IV III I III
4 1 3
1 3 3 1
4 1
3
2
1 2 1 2
2 4 1 2 4
1
141 3 142 1 1
19
I
III
3 3 1 2 4
2
1 2 2 1 3
1 4
(4) 3 2
1 4 1
1 3
143 144 1
(5)
(6)
145 146 [117]
[116]
rit. II
3
1 3
2
2 1
2
147 148
[118] 3 3
(4) (4)
=75 =70 =60
VI V VI accel.
1 1 3
1 4
1
2 3 3
3 3 2 1 2 2
3 4
1 2 3 (2)
2 1
1 1 1
149 150 (2) 2
1
(3)
3
3 3 3
=65 =70
20
a tempo
1 4
4 4 4 3
2 2 3 2
3 4
2 2
3 1
151 152
=75 =80
III
4
3 1 1 3
4
1 1
1 2 2
1 3
3 3
1
153 1 154
3 3 3 2
4
2 2 1
1 1
155 3
1
156 3
1
1
3
2 4 2
4 2 2 3
4 4 4
1
3
157 158 3
21
2
1
159 160
II
2
4
3 1
2 2
2 1
4
1 1
161 162
4 4
3 3 1
2 1 3
1 2
2
1
163 164
III
I
4 4
1
3 3 1 4
2
2 1 3
165 166 2
1
22
4
3
4
1
1 4 1
3 3
167 168 3
3 3 3
1
169 170 1
2
II
2
3 2 4
1 3
(3)
3
1 3
171 172 1
Fine
4 4 4
3 3
1
173 174
=75 =70 =65 =60
1
GRANAT Uwe Warneke

op.43
Concert Study for Solo Guitar
1. Movement: Andantino con moto IV
II
2
1 1
4 4 4 4 3
1 1 1 3 2
1 1 4
2 3 1 1 1
1
2 3 2
=65
III
4
4 4 1
4
1 1 2 3
2 1
2 3 2 3
3 3 1
3 3 1
2
2
(5)
3 4 3
1
1 3
2 2
2 1 1
3 1 2
3 4 3 3
3 1
1 2
(6)
3
5 6
V
III
accel.
1 2
3 3
2
1
1 2 1
1 2 4
3 4 4 2
3 1 3
2
1
3
(4) (4)
7 8
GRANAT. Concert Study for Solo Guitar. (c) Uwe Warneke 2002. All Rights Reserved. US Copyright Office, PAU 2-809-639
2
4
3 3 1 3 2 2 4
2 1
1 4 1 3 1 1 4 3
2 2
2 2 2
3 1
3 3
1
(3) (5)
=70
9 10
II V
4 4
2 2 2 2
4 1 4
4 2 4 3 2 2
1 4
3 3
1 (2) 1 (3)
3
1
11 12
IV V
II
2 1 1 1
1 1 4 4 4 4 4 4
4 4 3 1 1
1 3 4 1 3
1 1 3 2
3 1 1 1
2 3 2 3 2
3 1
1
13 14
VII
4 4 1
4 1 4 1 1 1 1
1 1 3 2 3 2
1 3 1 1 3
3
1
(4)
15 16
rit.
1 1 1
4 2 2
2 4 1 4
(4) 2
3 3 2 2
2 1
4 4
1 1
(5)
(6) (6)
17 18
3
II II
II
a tempo
4
4 4
1 3 1
3 1
4 4 4
1 1 1 1 1
1
(6) (6) (6)

19 20
=65
1
4 4 4
3 1 1
1 1 4
3 2
3 (3)
1 3 2 1
1 4
2 1 1
(2)
(3)
21 22
VII
4
2
4 4
4
1
1
(20)
1
1
1 1
23 24
V
4 4
4 4
3 4
4 2
3
1
3
2 2
1 1 1
2 1 3 3
1
1
(6) (6) (6) (5)
25 26
1 1 2 2
2 2 1
4 2
2
1
1 1
(5)
27 28
4
2. Movement: Andantino con brio IV

II
1 1 1 2 3
4
1 2 4 1 2 3 1 1
1 1 1 4 1 2 2
3 3 1
3 3 3 2 4
3 2
2 4
1
29 30
=65
III
II
2 4
4 1
4
1 2 3 1 1 3 2 4
1 2 2 2 1
2 3 3 3
3 4 1
3 1 3 1
2
31 32 (3)
3
V
II
II
III
1
3 1
3
2 2 4 2 1 1
3 1 4 1 2
2 3 4 3 3
4 1 4
1 4 2
1
(5)
3 3
3
33 34
3
V V III
II
III
4
3
1
3 2 1 1
3
1 2 3
1 2 1 1 3
4 1 1 2 1
2 1 3 3 3 4 3 3 2 2
3 4
1 1
3 2
1 1 1
3 (2)
3
(3) (5) (2) (3) (5) 3 (6)
(6)
35 (4) (5) (4) 36 3

(5)
II
III
4
1
2
1 1 3
1 1 2
2 3 2 3 3 2
2 1 4
4 1 2 3
3 1
1 2
(5)
3
37 38
5
III
I
II
1 1 1
3 1 1 2 2 1
2 1 3 3 4
4
2
2
2
1 1
39 40
I II
II
4
3
4
1 4 3 2 3
2 1 2 2 1
3 4 3 2
1 3
3 1
1
1 1
41 42
IV
3 3
1 4 3 1 4
3 1 2 4 3 2
3 3 2
2 2 2
2 3 2 1
1 1 3
4 3
1 3
2
(4) (5)
(6) (5)
43 (3) (4)
3 (6) 44
(4)
(5)
(5)
I II
3
4 2 2
2 2 2
1 3 4 4 2 3 3 1 1 3 3
3 4 3 1 2 3 4 4 1 1 1
2
2 2
4 3 4 3
1
1
3
3 (3) (4) (4)
45 46
I II
3 3
4
1 1
1 2 4 2 3 4 2 2 2 1 3
2 1 1 1 2 2
4 4
2
4 1
3 3
1
3 3
47 48
6
IX
3. Movement: Andante IV V Vii
1
3 4
4 4 4 4 2 2 3 4 3
3 3
1 4 2 2 1 1 1
1 1
1 1 1 1 2
2 2
2
3 3
1
(2)
=60 (3) (2)
49 50 (3)
III 3
3 3
III 3
4 2
3 4 4 4 3 4
1 1 4 2
1 1 2 3
3 1 3 1
(2) (2) (2)

1 1
1 1 1 1
(2) (2)
(2) (6) (6)
51 52
II
3 3
1 4
4 3 2 1 2 2
1 1
4 4
4 4
1 2 1 2
3 3
(2)
3 3
(2)
53 54
IV
III 3 3 II IV
3 II
4 2
2
4 3 1 2 1 4 4 1
4 4 3 4
4 4 1 4 3 3 4
1 1 2 1 1
3 3 1 2
2 3 1
2 3 1 3
2 1
1 1 2
3
55 56
VII
VI
III 3
3 3 III I II
III
4
4 1 4
1 1 4
1 2 1
4 3
4 2 3 3 3 1
3 4 1 2 4
3 1 1
2
1 1
1 1 1
1
1 1 1 2
57 58 3
7
IV
3 3 V
3
1
4 2 3
4 4 4 3
3 4
3 2 4 2 1 4 1
1 3 1 1 4
4 1 1
(2) (2) 3
3
2
(2)
(3) (2)
(4) (4)
3
3
59 60
II V
IV III
3
3
2 1 1
1
1 4
3 1 2 2
1 4 1 4 3 1
1 3 4 3 4
3 1
2 2
1 1
3
1
61 62
III
III
2
3
1 1 4 2 2 2 1
2 2
3 1 1 3
4 4
2 1 3 4
1 3 3 1 2
63 64 3 3
1
1 2 3 1 4 4 4
2 1 1 2
3 3
1 2
1
1 4 3 3 3
1 1
65 66 3
(3)
2 2 2
1 3 1 2
3 3 3
67 68
8
4. Movement: Andante II
IV
I
II 4
3 1
2 2
3 1 4 1 3 4
4 4 2 3 3 4
3
1 2
1
4 1
1 1
1 3
69 =60 70
VII VI II
III VI
II III
1 1
4 1 4 3 4
2 4 4 1
4 1 2 1 4 1 3 4 2 1
1 1 4 1 1 3
3 3
1
2 2 2
1 3 1
1 1 2
1
71 72
IV
II
2 4
2 3
2 2 2 1
2
4 3 1 4 4 1
1 3 3
1 3
1 4 1
1 4
3 1 1 2
(2)
73 74
III II I
4
3 4 4
3 1 1 1 4 3
4
2 1 4
3 4
3
1
1
1
1
(5) 1 3 1
75 76
IV
II
II
4
[ 71 ] 1
2 2
4 3 4
3 1 4 3
3 2
1
1
1
77 78
9
II
4
1 3 1
3 3 1 4 4 4
1 2 3 3 2 4
2 2
2
3 4 1
3
1
79 80
4 1 2 1
4
1 3 1 4 1 4
3 2 2 2 3
3 3 3
1
1
2 1
1 1
1
81 82
II
III
3 3 3 3
2 2 1 2 2 1 2
1
4 4 4 4 4
4
2 3 3 3
3 2
1 1
1
83 84
2 1
1 1 3 4
2 2
3 1
3 1 1 2
2
2 3 3
2 2
85 3 3 86 3
3 3 3
III III
II II
3 3
II 3 3
4 1 4 4 4
1 4 2 1 2 1 1
2 3 4 3 4 3
2 3 2 3 2
1
1 1
1
87 88
10
II
3 3 3
3 3 3 3
4 1
3
2 2 2 2 1 2 2 1 2
1 2 4 4 1 4 4 1 4
3 3 3 3 3 3
1 1
1 1 1 1
3
3
89 90
3 3
3 3
3
3 3 3 4
3 3
2
2
4 3 1
1 2
1 1 1 1
4 4
1 2 3 4 1 4 1
2 3 2 2
4 3
(3) (2) (2) (2)
1
3 (3)
(3)
(3) (4)
91 92
II
III
II
2
1
1
3
2 1 3 3 4 3 4 3
4 4 4 1 2
4 4 4
1 1 1 1 1 1
1 1
3
3 3 3
(5) (4) (5) 3(5) 3
93 94 3 3
3 3 3 3 I
2 4
2 2 2 3
4
1 2 3 4 3 4
4 2
3 3 1
1 1 1 1 2
1
95 96
VII
4 4 4 4 3 3 3 3
1 1 1 1
1 1 1 1
97 98
11
V
II III
5. Movement: Andantino con fuoco I
II 4
1
1 1 4 4
1
2 4 1 1 1 1 1
1 3 4 2 2 1 2 2
3 4 4 3
2 1 2 3
2 3 3 3 3
3
1
99 =65 100
2 2 2
1 3
2 4
2 2
3 3 1 2
1 1 3
1 2 1 3
1 1
101 (2) (2) (6) (3) (2) 102 (5)

(6) (6)
II III
I
1 1
1 4 2
1 3
2 3 3
2 2
1 1
1
3 3
1
(5)
103 104
II
1 2 4
1 1
1 3 1 1 1
3 2
1 3 2
3 2
3 3 1
105 106
[ 19 ]
1
1 1
3
3
107 108
12
[ 20 ] [ 21 ]
109 110
IV
IV V
4
2
[ 22 ] 4 4 4
2
3 3 3 4 2
2 4
1
1 1 3
1
(3)
111 112 (6)
III
II
IV
3
1 1
2 1 1 2 2 1
3 1 4 2 2 4 1
1 1 3 3 3 3
2
4 3 4
1 1 3
(4) (5)
113 114
V VI
III
IV rit.
4
3
4
4
1
4
1 4
4 4 1 2 3 1
3 1 1 2 2 1 1 2
1 1 1 1 1 1 3 3
(4) (3) 2 (4)
1 2
1 1
2
(4) (3) (3) (2)

(5) (5)
115 116
II I
II
3 3 3
3 3 3 3
1 1
2 2 2 2 1 1 2
4 4 4 4 2 4
3 3 3 3
1
4
1 1 3
1
3 3 3
1
=60
117 118 3 (4)
13
3 3 3 3 3
3 3
[ 88 ] [ 89 ]
3
119 120
3 [ 91 ]
3 3 3 3 3 3 3
[ 90 ]
121 122
3 3
3 3
[ 92 ] [ 93 ]
3 3 3 3
123 124
III
IV
3 3 3 3
3
4 4 4
2 2
3 1 3 4 4 3 1
3 1 1 2
2 1 1 1
2
1 2 1 2
1 1 1
3 3
3 3 (3)
(5) (4)
3 3
125 126 (2) (6) (6)
(6)
3 3
3 3 3 3
4
4 3 2 4
3
2 4
2 3 2 1 4 4 2
3 2 4
2
1 3
1
3
(2) (2) 2
1 1
1 1 2
(2) (3)
(2) (2)
(6)
(6) (4)
(6)
127 128
14
6. Movement: Andantino con brio

II
4
4
4 1 1
4 2 2 1
3 1 3 3
2
1
3 (3) (2) (2)
1
(4) (3) (3)
(4)
129 =65 130

IV
3
3 3 3
1
4
2 3 2
3 4
1 1 2 1 1
2 1 3 1 2
2 4 3
1 2 1 4 3
(5)
(5) 1 2
1 1
131 132
3
3
3 4
4
3
2 II
1
4 4 4 1
1
2
4
1 4
3 1 3
(2)
1
(2) 3
1
(5)
=70
133 accel. 134
II
4
1 3 1 3
4 4
3 4 1 4
2 3 2
(2) 1
1 3
3
135 136
II
3 3
4
1 1 4
2
1
1 2 2
1
3
3
137 138
15
III
II
IV
4
II
4
4
2 1
2 1 2
4 1 3 2 3 3
3 3 4 4
3
1
1 1 2
1 1 1
(2)
(3)
139 140 (4)
VII
II rit.
1
3 1
3
1
1 4
3 1 3
1
3 1
3
(3) (3) (4) 1
141 142
a tempo IV II
3 3 3 3 3 4 1
2 4 2 1
1 1
1 2
2 1 2 2 2 2
1 1 1 1 1 1 1 1
(3)
143 =65 144
VI
IV
III
I II 4
3 3 4
4 1
3
2 2 1 3 2
1 3 1 1 1 4
1 1 1
4
3 1 1 1 1 2
3 3 3 1 1 1
(6) (6)
145 146
II
VI
4 4
1 4 4 4 2
4 4
3 3 4 1 4
2 2 1 1 3 3
1 1
1
1 1
2
1
(6) (2) (2)
147 148
16
7. Movement: Andantino appassionato

3 II
4
2 1 3 3
3
1 3 4 2 2 2 1 1 1 1 1
3 4 3 1 2 3 2 2 2
2 4 4
2 2
3 4
4 1
1
(3)
3
(4) (4)
3
149 =65 150
II
3 3
4
1 1
1 2 4 2 3 4 2 2 2 1 3
2 1 1 1 2 2
4
1 2
4
3 3
1
3 3
151 152
[ 67 ] [ 68 ]
153 154
II II
4 2 4
2 2 2 1 1
1 4 3 3 2 2
2 1 1 1 1 3 1
3 3 3
3 4
3 1 1
(5)
155 156
2 2 2 2
3 4
4 1 3 1 1
3 1
1 (3)
4
2
3 (3)
157 3 158
(5)
17
II
2 3 2
1 1 1 1 4 3 1
3 4 2
1 1 (4)
3
1
2 2
(3)
159 160
4 2 2
1 2 3 1
2 3 4 3
(4) 2 1 (3)
3 3
1 1
161 162
I
I
3 3
3 2 4 4 3
1 4 4 1 1 2 4 2 4 2 4
3 4 4
(3) (3) 3 3 2 1 1
2
1 1
(3)
163 3 164
rit.
2 3 2 3 2
2 2 2 2
=60
165 166
IV VIII
II
1
4
4 3
2 3 3 1 1 2 3 2 1 3
3 2 2 2 1 2 2
4 2 2 1
1 1 1
2 3 1
3
3 1 1
3
167 168
18
VIII
4
3 4 4 2
4 2 4
3 3
3 3 1 3 3
4 2 3 4 3 3 3 2 1
2 1 2
1 1 2 2 1 1 1 1
2 1 1 1 1 (4)
2 1
(4) 2
(5)
(5) (4) (3) (2) (4) (2) (2) (2) (4) (2)
(4)
(6) (5) (4) (5) (5) (3) (2) (2)
(4) (5) (5) (5) (3)
(5) (3) (6)
169 (6) (6) (6) (6) (6) 170 (6)
(4)
III
1 4 4 1 4 4 1 1
4 1 3 3 1 4
2 2 1
3 3 4
3 1 4
3
2
1 3
(2) (4)
(2) (5) (5) (4)
(4)
(5)
171 172
VII VIII
2
4 3
2 3
3
1
1 1
4 2 4 4 4 4 1 3 1
1 1 4 1
2
(4) (4) (4) (5) (4) (4) (4) (2)

(5)
173 174
4 4 4 4 4 4
3 4 4 1
2 2 1
4 3 4
1 3 2 1
1 2 1 3
1 4
1 1 2 3 2
1 2 2 2 1
2 3 2 1 3 1 2 1
1
(4) (3) (2) (2) (2) (3) (2) (2) (2) (5) (5) (2) (2)
(2) (3) (2)
(5) (5) (3) (6) (4) (4) (4) (4) (5) (5) (3) (3) (4)
(5)
(6) (5) (5) (5) (6)
175 176
4 2
1
3 4 4 1
3 1
4
4
3 Fine
1
1
1
(2)
(3) 1
(4)
(2) (2)
(5) (4) (6)
177 178
1
SERPENTIN Uwe Warneke

Study for Classical Guitar
op.47
1. Movement: Andantino con moto
4
1
1 1
3 4 3 3 4
4 1
2 2 2
3 1
3 3 3 3 3
3
1 (4)
(6)
(6) (5) (5) (4) (3) (4) (3) (4) (6) (4) (5) (6)
=65 (5) (6)
2 (6)
konstanter Klangwert
VI
V
V
VII
4
1 2
1 1 1 1
1 1 1 1
4 3 3 3
3 1 1 1 3
3 3 2 2 3 3 1
2 1 2
3 4
VI VIII IX
4 1 3 4 4
2
1 1
3 2 2 1 1
3 1 3 1 1 3
1
3 3
1
1 (2) (2)
5 6
I
VII
3 V
1 1 4 1
3 1
3 3 4 1 1
2
1 1 3 3
1 1
1
1 1
7 8
SERPENTIN. Study for Classical Guitar. (c) Uwe Warneke 2003. All Rights Reserved. US Copyright Office, PAU 2-765-899
2
V 3 V
4 1 4
1 3 4
3 4 1
1 1 1
2 3
1
(2)
(3)
9 10
V
3
accel.
1 4
4
4
1 1 1
1 2 4
3 3
2
3 (2)
1
(3)
(4)
(5)
11 12
VIII
4
1
4 1
3 1 4
2 2 2 1
3 3 3
3
3 1 2
3 3
1
1 3
(6) (6) (2) (4) (2) (2)

(5) (5)
13 =70 14
I
I
4 4
1 1
3
3 2 2 1
1 3
1 1 2
3 1
1 1
(2) (3)
15 16
VI
V II
III V
4
4 4
4 1 1 2
3 1 3 2 4 2 1 1
2 4 3 3
2 3 3
3
1 1 3
2 1
1
17 18
3
III
3
1 4 3
4
2 3 3 1 3
2 2
3 1 1
1 4
2 3 1
2
2 1 1 1
(2) (2) (3) (4)

(4) (3)
19 20
4
1
3
2 4
4
1
(3) (4) (5) (5)

(6)
21 22
VIII VIII
4 1 4
4 1 3 4 1 4 1
2 2 2 2 1 3 2
3 3 3 2
3
3 1
1 3
1
(2) (3)
(5) (6) (2) (2)
(4) (3)
(3)
(4)
23 24
3
II V
3
1 4 4
1 3
1 3 3 1
1 1 2
1 4 3 2 1
1 4
3 1
2 2
1 1
3 3 2 2
25 26 3
III
III II
3
4
1 2 4 3 4
4
1 1 4 2 2
2 2 4 1
4 2
1 3
1 1
1 1
3 1
1
(2)
27 28
4
III
4
4
4
3
4 1
1 2 3 1
(2) 3
3
1 3 4
1 2 3
(6)
(6)
29 30
VIII
VI
1 1
4 4
1 1
1 2 2
2 3 4 3
2 1 1
1 3 3
1 4
3 1 1
4 1
(6) (5)
31 32
1 4
1 1
4
1
1 3 4
3 4 2
1 3 3 3
1 1 1
1
(5)
33 (3)
(4)
34
III
4
1
1 4 4 3 3
3 3 1
2
2 1
2 1 3 1 1
3 3 1
(2) (2)
35 36
1 1
3 3
4
2 2 2
3 3 3
37 38
5
2. Movement: Andante V
4
4
2 4
1 1 1
1 1 3 3 1 3 1 1
4 4 3 3
1 2 1 1
1 (4) 3 2
3
1
39 =60 40
IV
III
1 4
2 3 1
2 4 1 1 1 1 4
1
3 2 2 1 3
4 2
1
3 1 3
(2) 1
(3) (2)
(3)
(4)
(4)
41 42
accel.
4
1 3 3
1 4 4
2 2
1
2
4 4
(4) (4) (3) (2)
3 (4) (4) (4) (3)
(3) (2)
43 =70 44
VIII VII V 3
rit. a tempo VI
1 4
1 4 4
3 1 1
4
3 2 1 2
1 2 1 2 3
1 2
1
4 3
1
(6) 3
45 46
=60
VIII
VII
V
4
VII 4 1
1 4 1
1 2
1 4
1 3 1
3 2 3 3
1 2 2
(4) 1
1 3
1 2 1
(4)
(5) (5)
(6)
47 48
6
VII V
2 4
4
2 4
4
3 4 2 2
1 4
4 1 3
2
1 1 1
3 3
1 1 1
49 50
I
V VII
accel.
1
3 1
1 3
2 2 1 1
4 1 2 1
3 2 2 2
3 3
(3) (2) (2) 1

4 (4)
(5)
(6)
51 =70 52
VIII
1
3 1 4 4
1
2 1 1
3 3 4 2 4
3
(3)
1 3
(2)
53 54
VI
I I IV
3
1
4 4 4
1 3
1 1 1
4 1 4 1 3 2
2 1
1 3 4 1 3
2 1 1
3
3
55 56
VI VIII
4 1
3 1 4
3 4 3 1
1 2
4 4 4 2
2
3 2
(2) (2) (2) (4) (4)
1 1
(4)
(6)
57 58
7
III
4
1 1
4 4 1
4 1 4
1 1 1 1 1 3
2 2 2
3 3 3 3 4
2 (2) (4) 2
59 60
VII 3 III
3 3
3
3
2
4 3
2 2
4 3 4 2
1 2 3 3 3 1
4 4 3
3 2 2
(4) (4) (3) (3) 4 (2) (3)
(4) (5)
1
(2) (3)
61 62
V
3
3 rit.
3
3
2 1 1
4 4 4
4
(3) (4) 3 3 2
(5) 1 2
1 1 (4)
(2) (4)
63 64
III
a tempo
4 4 1
1 1 1
1 4 3 1 1 4 3
2 2 2
1
2
2 3
3 3
3
65 =60 66
III I
1 4 1
4
1 1 4 2
3 1 3
1 4
2 (2)
2
1 3 (3) (4)
67 68
8
I
I
3
3
1 1
1
1 4 4 1 4 4 1
3 4 2 2 3 4 2
4 2
2 2
3 3
1
3
69 70
4
4
4 3
1 4 1
2 2
1
3
1
1
(3)
71 72
III
4 4 4 1
1 2
1 4 3 3 1 4
2 2 1
3 3 1
1
3 2 3 3
1
73 74
V IV
4
2 1
1 1
2 3 2
3 3 2 1
3 1 4 1
3
(2) (3) (3) (4) 4 2
1 (6)
(3)
(4)
(5)
(6)
75 76
VIII
1
1 1 3
3 1 4 1
3 3 1
1
(4)
(5)
(5)
77 78
9
3. Movement: Allegro Moderato
1 4 2 4
1 1
4 4
(6) (6) (5) (4) (5)
(5) (4) (5)
G 3+ fm
79 C(3,6)-Palette 80
=90
VI
V
1 4 4
1
1 1 2 2
4 1 1
3 3
3 3 3 3
3 3
F 3+ F-Major
81 82
IV V
III
3
4
1 4
1
2 2 1 4 1 1
3
4 4 1 1
3 2 2 3
1 3
G#-Major C-Major
83 84
VI V
V
4 4
1 4
1 2
1 1 1
4 4 4
3 1 3
3 3
3 3
am C 3+
85 86
I 3
3
4
1 4 4 1 2
1 1
2
1 3 2
1 1 3
cm C5+
87 88
10
II
I
IV
3
3 3
1 3
3 1 1
1 1 4
2 3
1 3 1 3
1 1
(5)
(5)
(6)
89 F#-Major 90
(Tritonus)
3 1
4 1
1 3 3 3 4 4 2 3
2 2 1 1
4 2 3
(4) (3) (4)

(6) (5) (4) (5) (2) (5) (5) (5) (2) (5) (3) (2)
(6) (4) (5)
(6)
91 92
VII
4
4 1
2
1 1 1 3
3 3
3 3 3 4 3
1 1
2 3 2
(4)
(6) (5) (4) (2)

(5)
93 94
3 3
3
4
1
1 1
2 4 3 2 3
2 1 1
1 2 2
(6) (6) (4) (5) (2) (5) (5) (5) (3) (5) (3) (2)
(6) (4) (4) (5)
95 96 (6)
III
4
4
1 2
3 1 1 4
3 3 4 2
3 3 3 3
4
2 1 1 1
3
1 1
(6) (5) (4) (2)

(5) (3)
97 98
11
VI
V
1
2 3
4 3 3
4 1 1
2 2
4 1 4 4
2
3 3
2
99 100
VI
V
1 [ 84 ]
1 2
2 1
3
4
3 1
101 102
VI
V
[ 85 ] 3
4
1
1
3
4 3
2
103 104
VI V
III
1 1
1 2
2 1 2
1
3 1
2
3
3
(3)
(5)
105 106
III I
1 2 2
4 3
3
1 3
1 1
107 108
12
4. Movement: Moderato con brio 3

III
I
3 III
3 3
V
4 4
4 4 1
3
1 3
1
3 2 1 1
2 1 2 3
1 2 1 1
1 2
3 3 3
109 =80 110
V III
4 4 1 [ 74 ]
2 4
1 2 1 1 3 4
2 3 3
4 3
2
3 1
1
111 112
V III
[ 75 ]
3
1 3 1
4
4 4
2 4
3
1 2 3
3 1
1
113 114
I
rit.
1
2 1 4 2 2 1
2 2 3 2
4 4 1
3 3
4
1 1
115 116
=70
VI
III
I 3
4
3
1 4
2 3
1 1 2
1 4 1
4 4
1
2 1
117 118
13
[ 14 ]
[ 13 ]
119 120
VI V III
[ 15 ]
4 4
1 3
4
3
3 4
1 1
1
1
121 122
[ 17 ] [18 ]
123 124
[ 19 ] 1 1
3 3
2
3
2
2
125 126
VII
III V
4
3
4 1
1 1
2 1
3 1
2 2 3 2 1 2 1 1
3 3 2
1 1
127 128
14
VII
I III
3
3 3
3 2 2
1 4 3 1
2 4 1 3
1 2 1 2 2 1 1
2
(4) (3) 1
1 3
(4) 1 3 1
(2)
129 130 (6)
III IV
V
IV 3 3 3
4
4
1 1 4
4 1 4
4
3 4 4
1 2 4 3 3 1 4
1
1 3 2 2 2 1
(5)
3 1 3
1 1 1
(6)
(5) (2)
131 (3) 132
(6)
I I
3 3 4 1
1 1
1 1 3 3 1 1
2
1 3
1 2
2 3 3
2
1
(3)
133 134
II
3 III IV
3 4 3 2
1
2 4 4
3 1 3
2 1
1 3
1
2 1
3
135 136
III I
II
4
2 1 1
1 2
3 3 4
2
2
3 4 3 3
1
1
3
137 138
15
5. Movement: Andantino con fuoco III VIII

VI
1
4 4
4 4
3
3 4 1 3
4
1 1
2 2 1 1
1
1
(3)
139 140
=65
V III
III
IV
2
4 2 2
3 1
4 2 4 2 1 3
4 3 (4)
1 1 1
1 3
2 2 1
1
(4)
(5) (6)
141 142
X VII V VI
V VII
1 4
1 3
1 2 1 1 3 4
1 4 2 1 1
2 (4) 3
1
2 2 1
2 1
1
(3)
(6) (5)
143 144
I III
IV
3 4 4 3 4
1 1 1 3
3 3 2
3 2
1
3 2 1
1
1
(5) (5)
(3) (5)
145 146
III
1
4
3 2 4 1 2 4
3 2 1 3
4 3
4 3 4
1 1
147 148
16
III IV
2 1 4
2
3 3 1 1 1
1 1
3 3 3
3 4
1
(2) 1 1
(5) 3
149 150 (4) (5)
V
4
4
3
2
1 3 1
3
2 1
3 3 2
(6) (4) (2) (4) (6)

(3)
151 152 (4)
IV
V
IV
IV
1
1 2 3 1
1 1
3 1 1 1 1 3 2 3
3 2 3 1
3 4 1
4
2 2
1 2
1 1
153 154
VI 3 IV
3
3
VII
3 3
4
2 1 VI
1
3
2
3 3 3
2 3
1 2 4
(4)
1 4 1
1 1
2
1 1
(5)
155 156
VI VI
3
4 3 3 4
3
accel. 1
3
3 2 3
1 3 3 2
1 1
1 2 2 1
(3) 2 2
1 (4)
(4)
(5) (4)
(2) (5)
(4) (3) (2) (6)
(4) (5)
=80
157 158
17
VI IV
IV VIII
III
4
4 4
4 2
1 4 4
1
3
1 1 2
1
2 2 2 3
2 3 3
3 1 3 2
3 2
1 1 1 1
(5) (6) (6)
159 160
VI V
IV
IV
4
2
3 1 4
1 2 1
3 2 1
1 1 1 2 3
4 2
1 3 3
2 1
3
1
161 162
IV III
III
4
1 4 3
1 4 1 1
1 2 3 1 4
2 3 2 2
1 2
1 3 1
(4) (4) (5)
(5) (5) (3)
(4)
163 164 (6)
IV
V II
IV I
III
4 4 1
1
1 3 1 4 1
3 3 1 1
2 2 1
1 2
3 2 3 1 1
165 166
VI
IV V
4
3 3 3
4 4
4 4 4
4 4 3
3 3 4
3
1 1 3
2 2 3 1 1
2 1
(2) (3) (3)

167 (6) 168
18
a tempo
IV
rit. 3
1 4 1 4 1 3
1
2 2 2 4
3 (4) 4 3
3 3
3 1
1 1
(5) (5)
=65
169 170
IX
3
1
3 4
1 3
2
3
3 1 3 1 3
3 1 2 1
4 (3) (2)
1 3
1
(5) (4) (4) (5)
3 (4)
171 172
IV IV VII IX
3
4 4
1
2 1
3 2 3 2 1 3 4
3
1 3
1 4 4 1
1 1 1
2
1 1
(3)
(5)
173 3 (5) 174
IX
3 3
1 1 1 1 1 1
3 3
1 1
1 1
3 2
1
2
3
1 1
175 176
IX
3
Fine
1 1
3
[ 157 ]
1 1
177 178
C(3,x)-Klangpaletten (c) Uwe Warneke, 17.03.2003
Klangwertberechnung:
ceg=c-e(2)+c-g(1)+e-g(3)=6 Die C(3,6)-Palette und ihr Tritonus Fis
c cis d 14 cef 8
In keinem der zehn C(3,6)-Palette-Dreiklängen mit dem
Klangwert 6 (oder aber in den zugehörigen Tonleitern) gibt es die
c cis dis 12 c e fis 10
Note Fis. Fis ist Tritonus der C(3,6)-Palette.
c cis e 10 C-Dur 6
c cis f 8 C 5+ 6
C Cis D Dis E F Fis G Gis A Ais H C
c cis fis 10 am 6
c cis g 10 c e ais 10 5 5
c cis gis 8 ceh 8 4 4
c cis a 10 c f fis 10 3 3
c cis ais 12 C 3+ 6 2 2
c cis h 14 fm 6 1 1
c d dis 12 F-Dur 6 Tritonus
cde 10 F 3+ 6
cdf 8 cfh 10
c d fis 10 c fis g 10 Intervall Dissonanzfaktor
G 3+ 6 c fis gis 10 C - Cis 5
c d gis 10 c fis a 10 C-H 5
cda 8 c fis ais 10 C-D 4 5 = scharfe Dissonanz
c d ais 10 c fis h 10 C - Ais 4 4 = milde Dissonanz
cdh 12 c g gis 8 C - Dis 3 3 = leichte Dissonanz
c dis e 10 cga 8 C-A 3 2 = unvollkommene Konsonanz
c dis f 8 c g ais 8 C-E 2 1 = vollkommene Konsonanz
c dis fis 10 cgh 8 C - Gis 2
cm 6 c gis a 10 C–F 1
Gis-Dur 6 c gis ais 10 C-G 1
c dis a 10 c gis h 10 C - Fis 4 (Tritonus)
c dis ais 8 c a ais 12
c dis h 10 cah 12
c ais h 14
Die 10 Dreiklänge der

C(3,6)-Palette
C + D + G
C + Dis + G / Gis
C + E + G / Gis / A
C + F + G / Gis / A / Ais
G 3+
cm Gis
C C 5+ am
Konstanter Klangwert
Mit dem Tonmaterial C E Fis Ais kann in jeder Dreiklang-Kombination der vier
C 3+ fm F F 3+ Töne der einheitliche Klangwert 10 erzeugt werden.
1
LAPISLAZULI Uwe Warneke

op.48
1. Movement: Andantino con motoIII IV

V
4 4
4 4 1
1
2 2 3 2
3 4 3 2 1
1 1 1
(3)
1 3 1 3
1
=65
V
VI II III
IV III 3
1 4
3 1 1
1 1
3 4 3
1 2 3 2 3 1 2
2 1
1
2
2 3 1 4 4 1
1 1 2 1
(6)
3 4
VI
II
3
3
1 4
2
4 1 4 1 1
2 1 1 4 3
1 3
1 4 2
1 2 3
2
1 1
(2)
5 6
III IV
4
4 2 4
2 4 3 3
3 3 1 2 2
1
(3)
1 1 1
7 8
LAPISLAZULI. Study for Classical Guitar. (c) Uwe Warneke 2003. All Rights Reserved. US Copyright Office, PAU 2-765-899
2
accel.
1
3 3 3 3
1 3
3 4 4
1 3 1
(6) (6)
9 10 =70
III IV
IV
4 4 4
3 4 1 3
4 1 1 4
2 1 1 1 1
2 2 2 1
4 2
(4)
(4) (5) (6) (5)
11 12 IV
IV II III
II
II
4 1 4
3 1 1
2 2 1 1 2 2 2 1
1 2 2 3 4 1 1 1
1 3 3 3 4 3 3
3 4
1 1 3 3
1
1
13 14
V
II III
III
4 3
3
1 1
1
1 1 3 1
1 3 3
2 1 1 2 2
1
4 4 1
1 1 2 1
1
1
(5) (6)
(6) (5) (6)
15 16
VI
III V
3
3 1
4 1
1
3 1 4
2 2
3
1
1
1 2 2 3 2
1
1 3
(5) (6) (6)

17 18 3
3
VI
II
3
II
3
4 1
1 4 3
2 2 3 2
2 1 2 1
3 1 1 4 3 2
2 (2) 3 1
3 3 3
(5)
(4)
(3) 3
19 (4)
(5) (6) 20
II
1
3 1
4 1
1 4
(3)
3
1 2 3
2 1
(6)
21 22
1
4 4 4 1 1
3 4
4
3 1
3
3 (2) (2)
1 1
(6)
23 24
VI
1
3 3
3 3 3
2 3
(2) (3) (3) (3) 1 2 4

2
(3)
(6)
25 26
VI
4 3
4
4
3 3 1
3
1 1 2
2 (3) 3
2 2
3
(6) (4) (4) (5)
27 28
4
4 4 4 4
4 2
1 4
4
3 3
2
(3)
(2)
(4) (4) (4)
29 30
Accel.
I
3
3
2
2 3
4
3 2
3 4 1
1 4 2
2 4 1 3 1 1
1 (2) (2) (4) (4) (4) 1 2 2
1
3 4
(4) 1
(3) 3 1
(5)
(5) (3)
(2)
(6)
=75
31 32
rit. a tempo
V
4
4 4
1
4
3 2 1
1 1 3 4
1 3 1 1 2
4 (3) (3) 3 (4)
2 3 3
1 2 1
(2) (4) (5)

(4)
(5) (3)
(3) (6)
33 =65 34 (6)
VII IX
VII V
VI
1
1 1
1 1 3
2 2 1
3 1 1 3 2
3 3 2 1 4 4
1 4 3 1 2
2 4
3
3
3 3
35 36
IV
II
VI
4
4
1
1
3
3 1 1
4 2 1 1
1 3
1 4 2 1
1
3
37 38
5
2. Movement: Andante
4 I
1 3
3 1 2
2 1 4 4 2
2 4 4
1
(2) 1
2
(3)
=60
39 40
III
4
3 1 4
1 3 2
1
2
2 1
1
Accel. =65
41 42
III V
4 4
4 1 1
4
1
2
3 2
4 1
3 2
4 1
1 3 3
3
2
3
3 (6)
(2) (5) (6)
43 44 (5)
III
III
4
1 4 1 2
1
1 3 1 4 4 2
3 2 4 2
1
2 3
1 1
1 1
45 46
II
IV
4
4 2
1 1
3 2 1
3 1 1
3
1 3
3
1 2 1 1 1 1
(3) (3)
47 3 48 3
6
II
III
IV
IV III
4
4 1
1 1
1 1 1 3 4 1 2
2 1
1 1 2 1
(3) 4 2
3 1
(2)
(4)
49 50
III
4 1
2
2
3 2 3 1
3
1 1
51 52
III
4 4
2
3 1 4 1 3
3 1
1
2 2
1
1 3
53 54
V
IV III
III
1
1 2
3 2 2
4 4 4 4 4
1 1 3 3
2 1 1 3
2 1
3 1
2 1
1
1 2
55 56
4 1 1
1
3 4
2
4
3 1
2
1 1 1
(5)
57 58
7
VII
V II
4
1
1
1 1 2
4 1 2 4
2
2
2
3
1
2 3 (2)
1
59 60
V IV VI
IV
4 4
4 3
3 1 1
4 4
2 4 1
4 1 2
1 1
1
3
1 3 2
1
61 62
VI V III
I
IV III IV
4 4
4 4
1
2 1 1 1
1 3 1 2 1
1 1 3 3
3 1 1 3
1 2 2 2
1
1 1 1
1
1
63 64
4 4 4
3 3 3
4 4
3 3 1
1
1 1 1
2 1 2 3 2
2
1
65 66
I III V
IV
4
4
4 1
1 1 4
2 1 1 4 1
1 1 3 2
1
3
2 1
3 3
1
1 1
67 68
8
V
I
III
4
1
3 3
2 2 4
4 1 1 1
1 1 4 1
3 2
1 2
1
(5)
69 70
IV
III
1 1
4 4
4 1 3
1 3
3
2
2 1
1 1
71 72
V
III II
4
3 2 2
1 1
1 4
3 1 2 1
3
(2) (2)
1
2 1
1
73 74
II I
4
3
2
1 1 1 3
3
75 76
III
4
1 4
4 2
1 1 1
1 3
3 4
77 78
9
3. Movement: Andantino con fuoco
[ 24 ] [ 25 ]
=60
79 80
[ 27 ]
[ 26 ]
81 82
Accel.
[ 28 ]
=70
83 84
3 3
2 2
1 [ 24 ]
85 86
IV
4 1 1 4
3 1 3
[ 25 ] 2 3
1 1
(5)
(4) (4)
(5)
87 88
10
IV
V
rit. a tempo
3
1
2 1 2
1 3 1
1 1
1
3 (3) (2)
1
3 1 2 3
(5)
89 3 90 (3) =60
V VII
1
4 4 4
3
2 2
3 (4) (4) 3
1 1 3
(4)
(5)
91 92
VII V IV V VII VI
1 1 2 1 4
4
3 1 4
2 1 2
4 1
1 3
3 3
2 1 2
1 1 3 3 1 3
1 1 1
93 94
VII
IV
Accel.
II
1
3 1
3 1
1 4
3 1 1 3 4
2 4
1
1
1 3 3
2
2
(4)
95 =70 96
VII
IV VII
4
1
2 1 3 1
1
4 4 1 1
3 2 2 2 2
1 1 3 4 4
3 3
3 2
1 1 1
(2)
(5)
97 98
11
VII
V V
IV
4
1 1
1 4 1
4
3 3 1 4 3 3
2 1 3
3 2 2 1
1
99 100
VII IV V
3 3
3 3
1 3
4 3 4
3 1 1 4 1
1 4 3
2 1 4 3
(3) 2
2 2 1
2 2
2
(3) (4)
101 102
IV
rit. a tempo II
4 3
4 2 1 1
4 1 1 4 1 1
2 2 2
2 3 2
1 3
1
(3)
3
103 =60 104
IV
III II IV
3
4
2 1
4
3 1
3
2 3 2
1 1 4 1
3
1
105 3 106
V IV
IV
1 1
3 2 4
4 1
4 2 1 3 1
2 1
3 3 2
3 3 2
3 3
1 1
107 108
12
III III
4. Movement: Moderato con anima III
IV
4
2 1 4 1
1
4
2 4
1
3 1 3 2
4 3
4 1 1 1
2 3
(6) (6) (5)

Cis j7 (2) (4)
(4)
109 =60 110 G3+ 7
C(4,14)-Palette
II Accel.
I I
4 4
4 2 1
1
4 1
2 2
3 3 4 1
1
3 2
3 1 2 3
1 3
3
(2)
(4) dm 7 3
111 am 7 112
=70
I VI
III
IV
Accel.
3
1 4 1
1 1 1
2 2 1 3 2
3 3 2
2
1 1
4
1
C3+ 7 cm 7
113 114
=80
III
I
4 4
1
2
1 2
1 4
2 4
3 3
3 1 1
4 (2)
2 1
(3)
(4) (2)
(5)
F3+ 7 (5) (4)
115 116
IV
II
3 1 4 1 4 1
2 1
2 3 3
4 2
3
1 1 1 3
Gis j7 Fis
117 (Tritonus) 118
13
1
1 1 3 1
2 1 2
2
2
119 120
III V
rit.
4
4 1 2 2
4 1
1 1 1 3 1
1 3
2 2 3
3 3 1 3 4
1
121 =75 122
V
III
I
4
2
1
1
3 1 3
1 4
2 1 3 4 1
1 1
1
2
2
fm 7
123 124
accel. III
3
1 1 1 1 1
3
3 3
2 2 4 2
2 1 3
1 3
3 3 1 1
3
(4)
(4) (3)
125 =80 126 (5)
I III
V
1 1
2 1
1 1 1 1
1 4
1 3 1
2 3
3 3 1
4 3 1 1
(2) 1 1
127 128 3
14
VIII
III
1
1
2
1 1
3
1 2
1 3
1
129 130
rit.
I
III I
1 1 3 1
3 3
2 4 1
2 1 2
1
1
3 2
1
=70
F j7 D3+ 7
131 132
I III
I IV
4 4
4 1 4 1
4 4 4 1
4 4 1 1
3 2 2 1
1 3 2 3
3 1
3
1 3
1
(2) (4) (2) (2)
(4) (4) (4)
133 134
III
V
IV
1
2 1
1 3 1 4 1 2
2 3 3 4
1 1
3 2 1 2
1 3
1
135 136
III
1
4 2 3
1 3 4
3 4 4
1 1
2 1
(5) (3) (4)
(3)
137 138
15
III
Accel.
IV
III
4
3 3
1 4 4
4
1 3
1
2 1 1
2 2 3
3 3
2
1
C j7 =80
139 140
IV
III VI III
4
4 1
4
1 1
2 2
1 4 4 1 3 4 4
3
2
2 1 1
141 142
III
III
II
I
1 1 1 3
1 4
1 4 1 2 1
3 3 1 2 3 3 2
4
2 (3)
2 4
4 1
1
143 144
VII V VII
VII VIII
V
1 1 1
1 1 1 2
1 2
1 1 2 1 1
1 1 1 1
3 3
3 3 1 3
1
145 146
V IV
VII II
1 4
1 3 1 3
2
2 3
1 4
2 1
1 2
147 148
16
5. Movement: Andantino III
4
1
1
2 1
3
2 4
(3) 4
=70 (4)
(5)
149 150
1 4 1
4
3
1 4 4 3 3
(4) 2
3
3 2
3
(4)
(5)
151 152
VIII
III
4
1
1
1 2 3 4
3
1
3
(2)
1 1
(4) (5)
153 154
1 1 1
2 2
3 4 3 4
2 1 1 2
3 3
155 156
IV V V
VI IV
4
1 4 4
3 1 4
2 1 2 3
2 3 1 3 4 1
1 3 1 3
2 2 2
3
157 158
17
V
III III
I
4
4
4
4
3 3
2 1
1 2 1
2 1
1 2 3
1 1
159 160
I II
3
1 1
1 4 2 3
3 3 1 4
1 2
2 2 (3)
4 4
3 4 2 2
3 3 3
161 162
4
4
1
2 1 2 1
1 1 1 2 1
3 4 3
1 1
1 1 3
3 3
2
163 164
V VII
VIII
4
2
4 3
2 1 2 1
1 2 4 4
1
1 1 3 3
3 1 (3) (3) (2) (2)

1 1
1
165 166
V
VII
VIII
4 4
4
3 3
3 2
1 2 3
1 4
2 3 3 1
1
(5) (5) (5) (5)
167 168
18
III V
[ 158 ] [ 159 ]
4
4
1
3 4
1
1
3
Accel. =80
169 170
V V
1
4 4 4
1 1 1 2 2
1 4 3 4
1 3 1
2
(3) 3
(3) 2
1
(3) (3) (3) (3)
(5)
(2) (2)
171 172
VII
V
3 1
1
2
1 4 4 2 1 1
4 1 1 3
1 3 3 2
2 3 1 1
1 3 3
3 2 1 2
rit a tempo
=70
173 174
II
4 3
4 1 1 4 1
1
3 3 1
2
3 2 3 3 1
1
175 176
II I
Fine
1 1 1
4 1
3
2 2
1
2 3
1 3
177 178
C(4,x)-Klangpaletten (c) Uwe Warneke, 17.03.2003
Durch Klangpaletten erhält eine Komposition eine klangliche Grundierung, d.h eine relativ homogene Klangfarbe.
Tritoni setzen (soweit vorhanden) komplementäre Klanglichter.
c cis d dis 26 cdef 19 c dis gis a 18 c f g gis 16 c fis a ais 21

c cis d e 23 c d e fis 20 c dis gis ais 15 cfga 15 c fis a h 20
c cis d f 20 cdeg 15 c dis gis h 16 c f g ais 14
c cis d fis 21 c d e gis 18 cfgh 17 c fis ais h 21
c cis d gis 20 c dis a ais 20
c cis d gis 21 cdea 15 c dis a h 21 c f gis a 16 c g gis a 20
c cis d a 20 c d e ais 20 c f gis ais 15 c g gis ais 19
c cis d ais 23 cdeh 19 c dis ais h 20 c f gis h 18 c g gis h 18
c cis d h 26
c d f fis 19 c e f fis 21 c f a ais 16 c g a ais 20
c cis dis e 22 cdfg 14 cefg 16 cfah 19 cgah 19
c cis dis f 19 c d f gis 17 c e f gis 15 c f ais h 20
c cis dis fis 20 cdfa 14 cefa 14 c g ais h 19
c cis dis g 19 c d f ais 15 c e f ais 17 c fis g gis 21
c cis dis gis 16 cdfh 20 cefh 18 c fis g a 20 c gis a ais 23
c cis dis a 21 c fis g ais 19 c gis a h 22
c cis dis ais 20 c d fis g 17 c e fis g 19 c fis g h 18
c cis dis h 23 c d fis gis 20 c e fis gis 18 c gis ais h 23
c d fis a 17 c e fis a 17 c fis gis a 21
c cis e f 18 c d fis ais 18 c e fis ais 20 c fis gis ais 20 c a ais h 26
c cis e fis 19 c d fis h 19 c e fis h 17 c fis gis h 19
c cis e g 18
c cis e gis 15 c d g gis 17 c e g gis 15
c cis e a 16 cdga 14 cega 14
c cis e ais 21 c d g ais 15 c e g ais 17
c cis e h 20 cdgh 16 cegh 14
c cis f fis 18 c d gis a 19 c e gis a 15

c cis f g 17 c d gis ais 20 c e gis ais 18
c cis f gis 14 c d gis h 21 c e gis h 15 h 5 4 3 2 1 4 1 2 3 4 5
c cis f a 15 # 4 3 2 1 4 1 2 3 4 5 5
c cis f ais 16 c d a ais 19 c e a ais 19 a 3 2 1 4 1 2 3 4 5 5 4
c cis f h 21 cdah 20 ceah 16 # 2 1 4 1 2 3 4 5 5 4 3
g 1 4 1 2 3 4 5 5 4 3 2
c cis fis g 20 c d ais h 23 c e ais h 21 # 4 1 2 3 4 5 5 4 3 2 1
c cis fis gis 17 f 1 2 3 4 5 5 4 3 2 1 4
c cis fis a 18 c dis e f 20 c f fis g 20 e 2 3 4 5 5 4 3 2 1 4 1
c cis fis ais 19 c dis e fis 21 c f fis gis 19 # 3 4 5 5 4 3 2 1 4 1 2
c cis fis h 20 c dis e g 16 c f fis a 18 d 4 5 5 4 3 2 1 4 1 2 3
c dis e gis 15 c f fis ais 17 # 5 5 4 3 2 1 4 1 2 3 4
c 5 4 3 2 1 4 1 2 3 4 5
c cis g gis 18 c dis e a 18 c f fis h 20 c # d # e f # g # a # h
c cis g a 19 c dis e ais 19
c cis g ais 20 c dis e h 18
c cis g h 21
c dis f fis 20
c cis gis a 18 c dis f g 15
c cis gis ais 19 c dis f gis 14
c cis gis h 20 c dis f a 17
c dis f ais 14
c cis a ais 22 c dis f h 19
c cis a h 23
c dis fis g 18
c cis ais h 26 c dis fis gis 17
c dis fis a 20
c d dis e 23 c dis fis ais 17
c d dis f 20 c dis fis h 18
c d dis fis 21
c d dis g 16 c dis g gis 14
c d dis gis 19 c dis g a 17
c d dis a 20 c dis g ais 14
c d dis ais 19 c dis g h 15
c d dis h 22
1
MONDSTEIN Uwe Warneke

op. 53
1. Movement: Moderato con anima I
4
1
1
1 1 4
2 2
3
2 2
3 4
3 (5)
1
=80
III V III
3 1
1 4 2 1
3 4 1 4
1 3 3
2 2
1 2
1 3 1
2
1
3 4
4 1 4
3
1 1 4 4 3 1 1
4 3 2 1
2 2 1 2
2 3 3
3 2
2
3
5 6
III
3
4
1 3 2 1
4 4 1
3 3 1 4 3
2 2
2 2 3
7 8
MONDSTEIN. Study for Classical Guitar. (c) Uwe Warneke 2003. All Rights Reserved. US Copyright Office, PAU 2-809-639
2
III
I
1 2
2 1
3
4 1 3
2
3
2
1
1
1 3
9 10
I
4
4
1 1 2
2
3 3 1
1 1 2 3
3
2 2 1
11 12
III III
V
3
3 3
4
4
3 3
1 4
4 2
1 1 3
1 3 3
2 2 1
1 2
3 3 4 1
1
3
3
13 3
(6) (6)
14
III
3 3
3
4 3 1 1
2 4 2
1 3
(4) (3)
2 3 1
3 1 3
1 2 1
15 3 16
3 3 (6)
IV IV
V
3 3
4
3 1
4 1 1
4 4 1
2 1
1 3
4 1
2 2 1
(6)
17 18
3
II
IV
4
3 4
1 4 1 1
2 1 3 1 3 3
1
2 3
2
3 1
1
19 20
II IV III
4
4
1 1
4
2 1
2
4
3 (4)
1
3 1 2 1 1
1 1
(3)
(5)
21 22
IV
IV II
II
4 4
1 2
1
4 1
1 4
1 1 4 2 4 1 2 3 1
1 3 4 4
1 1 1 4 3
2 2 4 1 1 1
1 1
3 3
(3) (4) (4)
(2)
23 24
III
I
3 4 1
1 1 4
2 3 4
3
3 3
2 2 3 1
3 3 2 2 1
1
3
25 26 3 (3)
3 3
V
3 VI III IV III
3
3 3
3 4 4 4 4 1 3 1
4
3 4 4 1
3 3 2 2 2 1
1 4 3 2 2
3
1 1 2 3 2
1 1 1
1
3
(2) (4) (5)
27 28 (4) (3) 3
(5) (5)
4
III
II IV III
1 4 2 2 1
3 2
2 1 4 2 4 3 3 2 3
3 3 1 2
1 1
1 1
(2) (4) (3) (4)
(4) (5)
29 30
rit. rit.
I 3 III I
III
4 3 4
4 4 1 2 3
1
3 1 3 1
(2)
1 2
1
3 1 4 1
=75
=70
31 32
rit. II rit. III

accel. 3
III
4 2 1 2 1
1
4
3 2 3 1 3
1 3 3 2
2 4 2 4 1 1
1 3 2
1
III
=65 =60 =65
33 34
III
accel.
1
3 3 4 1 4 2
2
1 3 4 1
3 2 2
1 3 1
2 1 1
(4) (3) (3)
(5) (4)
35 36
=70
a tempo
III
accel.
4
3
1 1 1
1
1
1
(2) (2)
4 [7]
3
3
37 =75 =80 38
5
VII
4 3
3
4 4
1
1
1 2 2
1 1
1 3
2
3 (5) (5)
39 40
3 4 3 4 [ 11 ]
3
2
1 1
2
41 42
[ 12 ]
1 4 1
2
3
43 44
1 3 1
2
1
2 2
45 46
VI
VIII
I III
1
1 Fine
1
1 1 3 2
3 1 2
2
3
2
1
1 1
1
47 48
6
2. Movement: Andantino grazioso
2
2 3 1
2
1 3
2
3 1
1
49 =70 50
4 4
3
1
3 1 1
1 2 4 4
2 3
2 2
(3) 3
3
(3)
51 52
III I
III
4 4 4 4
4 4
3 1 2 1
2 1 2
1 1 1
2
3 2 1
3 2 1
1
53 54
VI V
V
III
4
1 2
1
4
2
3 1 1 1 3 1 1
3 3
3 2 3 2
1
55 56 (3)
(6)
2
2 1 1 4 2 1
3
1 1 2
1
3
2
1 3
1
57 58
7
3
III
4
4 2 2
3 1 3 1 1 2
1 2 1
2 2 1
2
1 2
1
3
59 3 60
IV
I
II
3
2
1 1 1
2
2 1
1
1 3 3 2
3 3 3
1
61 62
I
4
1 2 1 2
3
2 3 2
1 4
2
3 1
1
3 1
63 64
III
3
3
3
4
1 2 1 4 4
2 3 3 1 2
3 2 2 3 1
3 1
1 2
1
1 2
(2)
65 66
II
3
4 4
[ 53 ]
4
1
3 1
1
3
2
67 68
8
rit rit. accel. V

[ 54 ]
4
1
2
4
3 3
1
2 1 1
3 4
1
(6) (5)
69 =60 70 3
=65 =65 (6) (5)
III
VII III
V
3 V
3
2
3 1
1 2 1
2 1 4 1 4 2
1 1 3 1 1 1
3 2 4 4 2 3 2
1 3
(2) (3)
3 1
(2) 1
(4) (3)
71 72
a tempo I
rit. rit. 3 rit. rit. accel.
4
4 4 3
1 4 1
3 2
1 4
1 2 2 2
3 3
3 3
3 3
73 74 =50 3
=70 =65 =60 =55
=55
a tempo IV V VI
4 1 3 3 2 1 1 2
2 1
1 3 1 3
2
1
1 1 3
1 1 2
1
=70
75 76
rit. rit
4
Fine
3
3 1 3 1
2
1 2
1 3
2 1
3
77 =60 78
=65
9
3. Movement: Allegro moderato I
1
3 2 1
1 1
2
1 2
3 3 3 3
2
=100
79 80
IV
1
1 1 1
2 4 2 3 2
3
2 2 2 3 (3) 3 (4) (4)
1
(4)
(5)
81 82
V V
III
1 1 1 1 1 1 1 1
1 1
2 4 2 2
1
3 3 3 3 3 3
83 84
rit. I I rit. rit.
1
4 1
2 3 1 3 1
1 1 1
2
1
1 4 2 4
1
(2) =90
85 =95 86 =85
rit. rit. rit.

II
2 1 1 1 1
1 2
1 2 2
3 1 3
2
2
1 2 1
=75
87 =80 (2) (6) 88 =70
10
accel. III
III
3 4
1
3 4
1 1 1
2 2 2
4 4 4 1
(4) 1
3 3 1
1 1 1
1
(2) (6)
=75 (5)
89 90
4 V
3
3 4 4
1 1
1 2 1 1
1 1 1
1 4
3 3
(4) 2 1
4
1
(6)
91 92
IV VI
1 1
1
1 1 1
2 3 1
2 2 2 3
2 2
1 3 2 1 3 3
1 1 1
93 94
VI V IV III
1 3
4
1 4 4
1 1 1
2
1 1
2 2
3 3
3
95 96
rit. IV VI 3
III
4 1 1
2
1
1 3 1
3 4 4
3 4 3 3
2 2 4
3 1
1
=70 3
97 98
11
4
2 4
1
3
2
1
3
1 1
(3)
99 100
[ 62 ]
1
2
1 2
3 3
101 102
II I
1 4 2
2 1
3 2 3 1 1 3 3
3
2 3 1
1 1
2
3
103 3 104
I
accel.
2 1
1 3
2 2
4 4
2 3
3 1 1 3
1
=90
3
105 106
rit rit rit. rit. rit.

I
III I
1 3 2
1 1 4
1 3
3
1 2 1
3
1
107 =85 =80 =75 108 =70 =60
12
V
3
accel. I
4
4 2
1 4 1
1 4 3
4 2 1 1 3
2 1 2
1 1
2 2
1
(2)
(2)
109 =75 110
III II
3 I
3
3
4 3
2
4 1 1 1 4
4 1 3 3 3 1
2 1 1
1 3 2
4
1
3
1
=70
3
111 rit. 3 112 3 (5)
II
4 4
2 1
1
2 2 2
4 3 4
1 3 3
1 4
2 1
1
3
3 1
113 114
3
I
3
rit.
3
1 1
3 2 3 4
2 2 3
3 3
2 4
3 =65
115 116
II
rit.
III I
Fine
4
3
1 1 1 3 2
2 1 4
4 1 3 3
1 1
2
1
117 =60 118
13
4. Movement: Moderato con fuoco

rit.
3
1
3
4
3
=85 (5) =75
=80
119 120
3
3
1
1 1 3
2 3 3 2
1 2 2
4
=70 =65 3
121 122
3
2 1
2 2 3 3
1 3 1 2
2 3 1 1 2
1 (2) (3) 1 1
(3) 2
4
(4)
123 124
IV III
4 3
2
2 4 1
2 3 4 3
3 3
1 1 1
(3)
3 1
1 1 2
2 1 1
125 126
II
4
1
1 2 2 1
2 1 1 1
4
2 1
3 3 4
3 3
127 128
14
accel.
[ 75 ] [ 76 ]
=70
129 130
III I
4
1
3 1 4 1 4 2 3
2
1 3 1 1
(2)
1 1 2
1 1
(3) 1
4
131 2 132
4 4
1
2 4
1 4
3 1
1 1
1 3 3
3
(3)
133 134
4 4
1
4 4 1 3
2 1 3
1 1 1
3 4 3 2
4 3 2
3
135 3
(6)
136
V VI IV V
1
4 1 4
2
1 4 3 2 1 1
2 2 2 4
1
2 2 1
3 3 3
137 138
15
V IV
V
VI
rit. VIII rit. accel.
V
3 3
3 4 1 3
1
1 4 1
4 1 1 1
1 4 1 4 4 3 3 3 3
4
3 1 2 2 1
(2) (4) (4)
1 1
1 3
2 1
=65 (2)
(6)
139 140 =60 =70
accel. I
IV III
4
4 4
1 1
2 1 1
4 1
3 2 4 3 3 1 1
(3) (2) (2) (3) (3)
2
1 2
1 1 1
(2)
(2)
(5)
(5)
141 =75 142
a tempo
1 2
2 1
4 2 2 4 2 3
2
3 4
3
1 3
=85
143 144
1 1
2 2 3 3
1 2
4
1 2 1
145 146
Fine
1
4
2
3
2
3
1 1
147 148
16
5. Movement: Andante con moto

III
4
4 4 1
2
3
3 1 1 1
2
3 2
1 (3)
2 1 1 1 3
(5) (5)
149 =60 150
VIII VII
3
III 3
3
1
3 4
3 3
1 3 1 2 4
1 2 1
3 1 4
2 1
2 2
4
3 2 1 1
1
(6)
151 152
VIII VII
V
3
3
3 3
3 1 1
1
3
1 1
3 2 3 2 3
4 3 3
2 3 (2) (3) 2 2 2
1 2 4 4
1 1 1
1 1
1 3
3
3
3 3
153 154
(5)
3 (6)
V IV
IV
3 II V
3
3 3 3
2 1
4
2 4 2
3 1 1 1 1
3 2 1 1 1 1
4 2 2 3 3
2
1 1 3 3 2
1 1 3
3
1 1
(2) (2)
(6) 3
155 (6) (5) 156
IV VI V
III IV VI 3 3
3
3 3
3
3 3 1
3
1 3 4 4
3 1 4
1 2
3 2 3 3
2 1 1 4 4 1
1 3
4 2 1 2 3
1 1 1
1 1 2 4 2
1 1
3
3 3
157 158 3
17
3 3 3
3
[ 14 ] [ 15 ]
3
3
159 160 3
3
3 3 3
[ 16 ] [ 17 ]
161 162
3
IV IV
3 3 3
3
1 1
4 4
1 1 1 1
1 1 1 1 1
1 3 3
2
3 3
1 1 1
163 164
III accel.
3
2 4 2
3 4 3
1 (3) 2
1 1 4
1 1 2
1 3
=65
165 166
IV
III
4
1 3 1
1 1 1
2 3 2
2 3
1 3
3 1 1
167 168
18
a tempo VI VII 3 VIII
3
IV
4
4 4 2
2 4 4
4 1
4 1
2 3 1
1 3 4 2 1
3 1 1 3 2
2
4 3
2 1
1
3
3
3 3
169 =60 170
IV
III
accel. VIII a tempo
3 V VI
3 4
4
1
1
1 2 3 1
1 1 2 1
3 1 2 3 2
3
3
2
1 1
3
171 =65 172 =60
IX accel.
VI
II
1
4 3 4
4
3 1 1
1 1 3
2 2 3 1
3 3 3 1 3
2 4
1 3 2
3 3 3
3
173 174 (5) (6) 3 =65
IV a tempo
3
3
1
4 4 1
1 1 1
2 2 2
3
2 2 1 3 2 3
1 3
3 1
(6)
175 176 =65
III
IV
rit. III rit. rit.
3 I
4
1 1 Fine
2 3
1 2 2
1 1 1
3 3 4 1
1
4 2 4 2
2
4 4
3 3
177 178 =45
=55 =50
1
AMAZONIT improvisation in jazz mode op.44. (c) Uwe Warneke '02. All Rights Reserved. US Copyright Office. PAU 2-706-088
Guitar
Bass
Drums
VII
IV
1 VI
3 4 4 4
4
1
4
3 1
2 2 3 3
1 1
1 4 1 2 3 1 1 2
3 3 3
(2) (4) (2)
(3) (5) 1 1
2 1
2
(5)
2
1
5 4 3 4
1 1 6
1 3
3 2 2
1 1 3
3 3 2 3
(2) (2) (2) (2) 2
2 2
4
4 1
7 1 8 4
1 1 1
3 3 4
1
2 4 3 1 1
2 1 1 2
2 2
(2) 2 4 2
2
(4) 3
(2)
3
VII
IV
4 2 4
9 4 1 1 10
4 4
1 4 3 1 3
1
3 3
1 3 2
4 1 (3)
1 3 1 4
1 3 1
(2)
(3)
(2)
(6) (5) (6) (2) (5) (5)
(6) (6)
11 12
3
4
13 14
3
3
15 16
1
3 1 1 1
3 1
3
3 (3)
3
3
5
III
17 18
1
3 3 2
4 4 2 2
1
(3) (4) 1
(4)
3
3
3
III 3
VII
1
19 20
3 2
4 3 3
2 2 1 1
1 1 3
3 1 3 1
1 1 1
(6)
3(6) (6)
3 3
6
IX VII
3 3
4
2
21 4 2 22 4
1
2
1 1
2 3
1 3 3 4
3
1 3 2 3
1 1 1 1
1 2
2
3
3 (4)
3
(5)
3 3
3 3 3
23 1 24 3 3
1 4 3
4 4 4 3 3 1 3 3
3
2 1
1
3 3
7
3
3 3
4
25 3
26 1
3
2 3 1
2
1 (3)
1
1
1
3 1
3
(3) (2)
(6)
3 VII
3
VI
4
4 4 4
27 28 4
1
1 2
1 2
1 1 1
3 1 2
(2) (2) 3 (3)

1
3
(2)
2
8
V IV III
I
29 2 30
4
4 1 1
4 1 4 3 4 2
3 1
1 3 2
3
3
1 1 1
31 32
9
33 4 4 4
4
1
34
3
2
3 4
1 1 3
1
2
1 2
2 1
35 36
3
3
10
3 3
4
4 4
4
37 3
1 3 38 2 3 1 2 3
1
2
1
(5) (2) (3) (2) (2) (2) (3) (3) (2) (3)
1
(2) (3)
(6)
3 III
39 1 1
40
1
2 4 1
2
1
3 2
3
1 2 1
(3) 1
(4)
3
3
11
41 42
3 3
3
43 1
44
3
4 1 1
(3)
3
12
45 46
[5] [6]
47 48
[7] [8]
13
49 50
[9] [ 10 ]
51 52
14
4 4 2
53 4 1 54 4 4
1
1 1 3 3
4 1 1
(3) (2) (2) (3) (2) (4) (4) 1
2 3 (4) (2)
2
1
(4) (2)
(2) (4) (6)
(5) (3) (6)
(6)
VI VII VII
3
3
3 4
55 4
4 4 4 1
4 56 4
2 4
1 4 4 2
2 3 1 3
3 3 1
1
(3) 1
1 1 (2)
1
(3)
(3)
15
IX VII
VI 4
57 4
3
4 58
4
1 1 2
2 1 4 1 3
1 2
1 3 3
1 2 1 2
2
2 3 1
(3) 1 1
(4)
(4)
3
3
3
[ 54 ]
[ 53 ]
59 60
1
3
4
4
4
1
(5) (3) (4) (5)
(6)
16
61 62
[ 33 ] [ 34 ]
63 64
[ 41 ] [ 42 ]
3 3
17
3
65 66
[ 43 ] [ 44 ]
[ 43 ] [ 44 ]
[8] [7]
3
III
4
67 1 1
68 4
2
3 3 1 4
1 1 3
1 2 2 3 3 3
1
1
1 1
1 1 2
[6] [5]
18
3 III
69 4
3
70
1 1 4
3
3 3 1
2
1 1
1 1
2 3 2 3
1 2 2
[4] [3]
3 III Fine
2 4
1 2 4
71 1
4 1 72 1 1
3 2
4 1
1
2
(2) (2)
[2]
1
ACHAT
improvisation in pentatonic mode op.45. (c) Uwe Warneke 2002. All Rights Reserved. US Copyright Office. PAU 2-722-379
2 3
Guitar III
4
3
1
1
1 1
4 2 2 2
3
3
(5) (4) (3)
Bass
Drums
2
III
3 4
3
4
4 3
4 3
1
2
2 3
1
1
(2) (3) (5) (3)
3 3 3 3
5 6
4
1
2
3
3
2 1 (4) (3)
(5)
3 3 3 3 3
3
7 VII
8
4 4
4 3
1 1 1
2 2
3 3
1 1 1 1
3 3 3 3 1
3 3
3
(3) (4) (2) (4) 3 3

3 (4)
(6) (5)
9 III 10
3
2 1
4
1 2 2
3 3
1
1 1
1 4
2
3
(3)
(2) (3)
4
11 12
III
4 1
1
3 3
1 4
(2) 3
1
V
13 14
3 III
II
4 4 4 4 1 4
4 4 4 4 4
1
1
3 3 4 2
3 4 2 3
1 3 4
3
1 1
1
3
5
15 V 16
VII
1 3
4 1
2
1 1
3 4 3 1
3 4 3
1 2
1 1
3 1
17 18
3
4
4
1 3
2 2 1
1 (2)
1 4
1 3 1 (2) (2) (2)
(2)
(3)
(5)
3
6
19 20
3
4 1
3 2
1 2
3
3 1
2
1 3 1
2
2 (2) (3) 3
(2) 1
(3) (4) (2) (4)
(4) (3) (6) (6)
3 (5)
(2) (5) (4)
(6)
3 3 3 3 3 3 3 3
21 22
3
3 2
4 1 1
4
1 1 (3)
1 4
2 2
(4) 1
3
(6)
7
23 3 24 III
4 4 1
1 4
2 2
3
1
3 4 1
1
(3) (2) (2) (2) (4)

3 (3) 1
(4) (4) (4)
VII
25 26
3
4
1 4
4
2
1
2
3
1
1
3
8
27 28
29 30
9
31 32
VII
1 1 4
2
3
1 1
2
3 3
1 3
3
3
3
33 34
4
1 1 4
2
2
2
1 1 1 1
2 1 3 3 1 2
3 3 3 3
3 1
1
3
3
10
35 36
1 4
2 2
3 2
2 1 1 1
2 3
4 3 3
1 3 1
1 1 1
37 38
1
1
(5) (4) (3)

11
39 40
4
4
1 2
3 3 2
1
(4)
(4) (4) (4)
41 42
3
3 3 1
1
(3) 1 (3) (2)
(5) (3)
12
43 44
1
1
IX
45 46 VII
II V
4
1
2 3
4
2 4 1
1 3 3 3 1
4
1 1
1
3 1
[ 29 ] [ 30 ]
3
13
VII
47 48
4
4 4 2
4 1 1
4 2
1
1
[ 31 ] 3
[ 32 ]
49 50
[ 32 ]
3
3
[ 33 ]
14
51 52
[34]
3
[33]
3
53 54
[35] [36]
15
55 56
[1]
57 3 58
3
[2] [3]
3
3
3
16
59 60
[4] [5]
61 62
3
3
(4) 3 1
1
(5)
17
3
63 64
3
1 1
1 1 4
4
3 1
(2) (2)
2 2
1 1 (3)
(2)
65 VII 66
4
1
2 2
4 4 4
1
3 3 3
1
1
3
18
VII
67 68 3
4
4
2 2
4 1
3 1
1
1 (4) 1
1
1
(6)
69 70
III
4 Fine
4
2 1
3 2
4
(2) 3
1 (3)
1
NEPHRIT
improvisation in gipsy mode op. 46. (c) Uwe Warneke 2002. All Rights Reserved. US Copyright Office. PAU 2-722-379
2
Guitar
Bass
Drums
2
3 4
5 6
3
7 8 3
1 4 3
(2) (2)
9 10
1 4
3
(2)
(2)
3 3
3
4
VIII
11 12
1 IV
4 III
4 4 1 4
2
3
2 1
3 3 1
(4) 3
1
1
(3)
(6)
13 III 14
4 4
2 2
1
4 4
3 3 1
1 (2) 2 2
1 3 3
1 1
2
(6)
5
15 3 16
4 4
4 1
3 2
4
3
1
1 (3)
(4) (4)
(5)
17 VI 18
1 2
4 4 4
3 1
3 4 2 3
1
(3)
1
(2)
(4)
(4)
6
19 III
20 II
II 3
1 1 1
2 4
3 3 2
3 2 3
2
1 1 1 1 1
21 22
IV
4
3
3
(3) (2) 1
1
4
1
(6) (4)
7
23 24
III
1 1
4 4
1 2
1
1
3
25 26
III III
II II
IV
1 1
4 1 4 1
4 4 1
2 2 2 2 1
3 3 3 3
2
3
8
27 3 28
4 3 4
2 3 2
3 3
3
29 30
9
31 32
33 34
3
10
35 36 VI
II
2 1
1
4
2
3
(5)
37 38 VI
2 1
3 1 2
2 2
4 3
4 3 3 3 3 4
4 4 4 4
1 1 1 1 1
1 1
11
39 40 VII
VI
VI
1 1
3
1 2
3 2 3
4 3
4
1
2 1
1 1
VI
41 42
4 III
1 3
3
3 4 4 2
3 1
4 2
1 4 4
2 4 1 1
1 1 1
(6) (5)
12
43 III 44
VI III
3 II
4 4
2 1
2 4
3 3 2 1
3
1 1 1
1 1 1
1
(5)
[1] [2]
3 3 3 3
45 46
III
III
4
3
4 4 1
1
2 3 3
1
(2) (2) 1
1
[3] [4]
13
47 VI
48
VII
V
III
3 1
1 2
4 2 4 4
1 3 3
2 1
3
1
2 1
1
1
[5] [6]
3 3
3
49 50
1
[ 25 ]
[7]
14
51 52
3 III V
3 1 4 3 1
2
1 4 2
3 1
3 3 3
1 (2) (2) 4 2
1 1
(2)
(2) (4)
(5)
53 54
V III VI
2
4 4
4 1
1 1 2
4 4 1 1
1
2 1
3 1 1
15
55 VIII 56
VI
4
4 4 4
4
3 2
1
3
57 58
[ 29 ] [ 30 ]
16
59 60
[ 31 ] [ 32 ]
61 62
[ 33 ]
[ 34 ]
17
63 64 3
[8]
[ 35 ]
65 66
[9] [ 10 ]
18
67 68
[ 11 ] [ 12 ]
3 3 3 3
69 70
Fine
[ 13 ] [ 14 ]
1
Uwe Warneke
EPILOG
3 Studies for Solo Guitar
op. 72
1. Movement: Andante espressivo
III
1 2
1 4
2 3 4 3 1
1 2
(4) (5)
=60
III
2
3 4
2
3 3
1
1 1 3
3 4
III
4
4 1
1
4 3 3
1 3 2 4
3 1 1
5 6 2
(3)
Epilog op.72. Study for Solo Guitar. (c) Uwe Warneke 2010. All Rights Reserved. US Copyright Office, PAu 3-463-787
2
IV III I
III
1
4 2 1 1
1 2 4 1 1
3 1
1 3
3 1
1 3
4
7 1
1
8 1
1
III IV III
2
1
3 2
2 3 2 4 3
4 1
4 1 3 1
4 4 2 4
2 (5)
1
9 10 2
rit.
III III I
3
3 4 4
2 4
2 4 3
2 1 1 1 1
1 3 1 1 1
3
1 1
11 1 2 12 2 1
(2)
(4)
=55 =45
2 4 2 2
3 3
4 4
1 1
3 2 3
3 1 1
13 14 1
(3)
(4)
3
a tempo I III
1 4
1
2
2 2 4
4 1 1
3 3
1 1 1
15 1 16 1
=60
III IV
3 3
3
1 4 1
4
2 2
3 2
2
1 1
17 18
3
1 4 4
2 1 2
1 3 3 3
3 3 3
3 1
19 3 20 1
3 3
1 2
3
3 4
1 3 1
4 4 4
4 1 1 1
1
21 1 22
3
3 3
3
4
3 3 3 3
4 4 4 3
3 1 3 4
1 3 1
23 2 24 1
V III
4
4 4
3 4
1
1 2
1
3 2
25 26 2
III rit.
3
4 2
1
1 4
(5)
1
1
27 28
(3) [11]
=55
a tempo I
II
3
1 1
1 2
3
2
1
1
2 3 4 3
29 30 1
=45 =60
5
3
4 4
4 4
1 3
1 2
3 3 1
3 1
2 2
3 2
31 32 1
III
1
4
2 2
1 4
1
4 2
(2) 3
1 2
33 34 1 1
III I I
2
4 1
3
1
4 3 1 2
1 2
1 1 4
4
1 3
35 1 36 1
II
I
4
1
2 2
3 2 3 3 4
2
3 3 3
1 3 1 4 1
37 38 1 1
6
rit.
I
II I III II
3
1
3 1
4 3 2 1 2
3 4 4 1
4 3 3 3
3
2
39 2
1 40 1 1
=55 =50
accel. rit.
II
IV
4
1 3 4
1 3 2 1 4 2
3 2 1
1
1 1 1 4 4
41 3 42 1
(6) (6)
=45 =50 =55 =60 =65 =70 =65
rit.
I
I
3 3
1
1 2 1 2 1 2 1 3
1 3 2 1 1
4 3
2
43 2 44 1
=60 =55 =50
II I
4
1 3 2 3 4 3 4 4 1 4
4 3 4 4
4 3 2
1 3 4 1 3 1 2
4 1
1 2 3 1
3
1 2
45 46 3
=45
7
2
1 1
1 1 4
2 4 2
4 2
47 48 4
II
3
4
1
3
4 3
2 2 2 1 1
1 1
49 50 1
(2)
II
3
2 3
1 4 2
2
1 2
3
1 1
1 1 4
1
51 3 52
(2) (4) (4)
2 3 2
4 4
2 2 2 2
53 1
54
8
1
4
1 3 1 3 1 3 1 1
1
2 1 1
4 3 3
3
55 3 56 1
I
III
1 1
1
3 3 1
3 1 1 1
3 4
3 3 4
57 58 3 2
1
a tempo
III I I
3
2 1 1
3 3
4 4 1
3 1 1
1
59 3 60 3
=60
1
1
1
4
3
61 2
1
3 62 1
3
9
2. Movement: Andante amoroso
2 4
2
63 64
=60 =55
rit. rit.
I
1 4
2
4 2 2
1
65 66
=50 =45 =40
a tempo I
2
1
3 1
2 2 4 2
1
67 4 68
=60
II I II
3 1
4
4
4 4
1 1
1
69 70 1 3 2 3
10
IV II
4
1 4 4 1
4
3
3
1
71 72 3 1 2
(6)
rit.
VII IV
II
1
1
2 1
4 4 4
1 3
1
73 74
3
(6) 3
=55
accel.
II
3
3
2 1 1
4
3
2 1 4 4
3
(3) (3) (2)
3 2 1
1
75 76 1
2 1
3 3
=50 =55
II
3 3
4 4
4 1
3 3
2
77 2
1 78
11
a tempo
2 2 1
2
79 80 2 3
3 3
=60
3
3
3 4
4 4 4
(3) 2
2 2
81 82
4 1
2 2 2
4 1
83 84
IV III
1 4
1 1 4
4 1
2
3
85 86
12
[8]
87 88
[7]
IV II
4 1
4 4
3
1 1
89 (2) 90
2
4
(2)
1 2
(3)
91 92
(5)
III
4 3 1
3
1 4 1
1
4
1
1 3 2 1 4 3
93 94 1
3 3 3
3
13
III I
3 3
3 3
1 1
1 1 4 4
1 2 1 4
1 3 3
1 3 1
95 96
I rit.
III IV III
3 3
4 4
1 4
1 3 4 1 1 1
1
1
2 1 1 4
1 4 3 3
2 4
97 1 98 3
3 3
3 3
=55 =50
a tempo accel.
I
2 3
2
1 1
4 3 3
1 2
1 3
3
1 1
99 1
4 3 100
3 3
3 3
=60 =65 =70
1 4 4 1 4
4
1
2 1 1 2
101 3 4 3
1 3 102
(3)
=75 =80
14
rit. a tempo
I
4 4 3
1 2
4
1 1 2
3
103 3 1 4 1 104
=75 =70 =60

accel.
I
3 1 4
2 3
1 4 4
1 1 3
1 2
105 1 3 4 106
=65 =70 =75 =80

III I
rit.
4 1 4 3
3 3 4 2 4 2
1 3 3
4 3
1
1 2
107 1
2
108 1
1
=75
3 1
4 3
4
109 1 110 2
2
2
=70 =65
15
a tempo
[39] [40]
111 112
=60
II I III
3
3
1 1 2
1 3
2 3 4 4 4 2 1
1
3 4
1 3
113 114 4
2
accel.
III II I I
1
1 3
2 3 4
2 1
3
1 1
115 4
1 116
2
3
=65 =70
rit. a tempo VI
I III V
3
4
1 4
1 3 1
2 2
1 3 1 1
3 1 2 1 1 2 1 1 3
1 2
2
4
118 3
117 1 3 3
=65 =60
16
3 4 1
4
1
1 1 2 3
2 2 1 4 4
1 1
(3) (3) 3 1
3 3 3 2
119 (2) 2 120 1
(4) 1
3
(2) 3
(3) 3 3
3 3 (4)
(6)
(5)
VI accel.
3
4 1 3 4
3
1 2
1 (3) (4) (4)

121 122
=65 =70
rit.
III
1 1
1 2
2
4 4 1
3 4
123 124
=65 =60 =55
Fine
1
3 1 1
125 126
=45 =40
=50
Andante Epilog op. 73
 = 45 accel.  = 60 
3
  3
 4     
    5

 4   
  4              44
                 
3
 3 3
rit.  = 60
4
  
 4  2 4
   
 4       4      
4          43
         
 3
3 3 3
3 3 3
7     
 3              5 44
 4            4       
           
3
 = 65 3 3
3 3  3 3 3 3
10  
 4       4          

 4      
   4     43
        

3 3
13
3 3
3
  44            
  43                   
          
3
3 3 3
3
16  
     
   6     2
               4               4
         
3 3
3 3 3 3 3 3
 = 80 
18   = 85 
2  3   4  4   6   

   
 4   4      4     4     4        44


     
        
   
24
  4            4    2   4           2
 4             4   4   4      4
          
Fine
30 
 2   4        2     4 
 4   4     4    4         43  
      
    
Uwe Warneke 2010. All Rights Reserved. US Copyright Office, PAu 3-463-787
Andante Epilog op. 74
 = 80

 4          

 4     
              

4
           
     
       
 
            
7 
      
            
         2  45
       4
     
       
12 
     
 5
 4            44            
   

15
      
       5
    
                   4

18 
 5               2          4
4     2  
 4 4    4    4 4
         

22
  4                    
 4     
         

25
 Fine
     
43  44 
      
   

Uwe Warneke 2010. All Rights Reserved. US Copyright Office, PAu 3-463-787
E p i l o g op.75
20 pieces of non-transcribed
sheet music for Solo Guitar
No. 1 - Allegro moderato op.75
 
        
  44           

  
               
8  
             
               
          
    
14
rit.
         
         
               
           
20
 accel. a tempo 3 3
       
                      
 
           
        
26  
                  
           
             
3 3


32
                        
                   
   
40          
                  
             
47
        
    
                
   
 

53   Fine
    
                
                    

(c) Uwe Warneke 2018. All Rights Reserved

No. 2 - Allegro op.75
       
 3           
 4   
      
        
      
          
 
9
                  
     
           
            

15 
         
         
      
                  
 

22  
       
         
      
         
    
 
accel.
29
                  
          
               
rit. a tempo accel.

38 
                       
     
           
              

47      
       4        
            
         4            
   
rit. a tempo Fine
55
        
       
          
       
 
(c) Uwe Warneke 2018. All Rights Reserved

No. 3 - Andantino op. 75
4           
   
 4            
    
     

3
5   3
 3     
     
     
       

     accel.

8 3
3
    
    
 
               
   
      
13 3

              
        
     
            
21
                 
   
     
          
rit. a tempo
27 3
3
          
           
   
          
32 3 3
         
                  
             
      
 
38 3 3
       
               
             
   
3

42 3
  3  
              
    
 
  

   
       
47
 
Fine
                                   
     
         

Uwe Warneke 2018. All Rights Reserved

No. 4 - Andante op.75

     8
  89 87      12
   8       8
          

4 
                
  12
     3 5
8          
      
  8   8
 

7  
5   3    5    3 5    3    5
8    8 8   8    8    8
    8
     

13
               
 58    83  58   38  58   3    5
     8 8
     
19
         
 58   38      85    83 58      83 5
         8
    
25  
    
5     2   2 5 3 88
8      4  

  4 
    8 8
       
 
31    
8      
2   8      6 
8   4    8         8
         
36 Fine
           8  

       8    
        
   


 43 42        43    



     
                 

8    
         
              
   
 
   
14
            
               
      
    
       

19 
         42  
       
      
                         
26  
     
34      
     
                          
       
 
34
               
           
         
  
39      
                  
        
 
    
 
45  Fine
                      
   
            
       

   
            
               
             
       
10  
     
                   
   
                
19    
       
               
           

27
  
     
           

        
       
               
36
     
                
    
    
          

43

  
         
  
                
       
 
 
48
 
 
                
           
  
             
 
54 
            
                         
   

           
62
   Fine
      
   
                   
 
        
No. 7 - Andante con moto op.75
 
   
      
 
  
             
                      
 

10 
        
        
                 
            

17    
              
     
           
  
                    
 

27
  
      
  
          
                  
34   3 3 
 3 
    
                   
           
3
42  
     
   
            
                

 3
3 3
49         
   
    
            
 
  

         
3

3
59    Fine
   

         
             

       
 3 3 
3
3 3

No. 8 - Adagietto op.75

 
 
                     
4 
         
 
     
     
     
       
7   3 
3

                               
   
      

11 3
   

                

                            
16

              
               
          
     
          

21
    
                  
      

 
25
            
     
       
             
 
27       Fine
   
                          
              

  
      
              
       
 
7
          

                
               
     
13    
 
  
      
   
             

         
 

19
    
                      
           
        

25
  
    
             
       
       
     
31
    
      
                   
 
            
        
Fine
36
 
       

              
          
        
No. 10 - Adagio op.75
   
        
   
  
            
 
   
 
5      
          
       

 

   
 
        
 3
3
 
11
            
       
  3               
    
     
 
3
17  
                     
             
            
    
22      
      
    
         
                    
25            
   

            
           
30  
     

                          
                
33    Fine
 
  
             
 
       

   
 
                
                 
   
5
3 3 
                                      
      
accel.
9   

                   
           
    
a tempo
14
  
        
              
          


19
                        
            
          
24  
             
               
           

28  Fine
    
 
    
  
          


No. 12 - Andante moderato op.75
 
 
                   
     
       

8 
                
                  
         
 
13  

   
                            
      
17
   
              
          
20 
           
              
            
25   
         
      
 
 
             
         

30
               
                
      
 
33  Fine
   
     
               
           
 
No. 13 - Andantino op.75
 = 80
    
                      
  
3 3 3 3 3
3 3 3 3

    
       
                
3 3 3 3 3
3 3 
3 3
5 
       
        
       
      
    
3 3
3 3  3 3
10 3
               
  
            
 
 
          
        

 3
 
3 3
3 3
16 3
 
                     
               
       
22
     
          
                          

25 
                 
             
             
  
28
    
              
           

 
31

                          
   
  
Fine
34
      

        
           
   
No. 14 - Andante accentato op.75
 3      
 4            
              
3 3 3 3 3 3
3
 3 3
accel.
4 3 3  3 3 3  
  
  
                    
 3         
10  
             
            
  
    
         
15   
                    
                 

             
  
a tempo rit. 3 3 3
20
    
         
                   
3 3 3 3 3

3 3 3
23 3 3 3 3 3 3
      
              

  
  


   
3 3 3
26 3 3 3
       
                   
      
a tempo 3 3 3
29      
           
         
   
     
Fine
35
3
  3  3   
  
        
    
             


No. 15 - Andantino con moto op.75
       
              
     
   
6
       
                         
 
            
 
9          
   
               
                 
12
      
 
                                
   
15
 
  
         
               
           
  
20
      
                  
            
   
  

23        
                               
      

26    

                     
  
  
29
 
      
      
                              
    
32
     
    
     
      
          
   
 
No. 16 - Allegro op.75
  

             
  
    
rit.
5  
       

 

 
       
  
       
a tempo
8  
        

     

     
     
rit. a tempo
12
    
 
   
              
   
15
     
             
       
20
       
     
         
   
 
26 
    
                  
      
Fine
31   
                
     
      


No. 17 - Adagietto op.75
 3 3 3 3 3
               
      
      
3 3 3 3 3 3
5   
         
  
         
      
3 3 3 3
7   accel. 
   

              
      
3 3   3
10

        
            
            
 
3 3
15 
  
   
                  
   

a tempo rit.
18
      

                 
        
      
 a tempo
22
 
                        
         
25
       
              
   
   
28

       
    
       
        
      
accel. 
33   Fine

     
   
       
       
     3
  

 2  
 4   
           
      
         
 
9
  
                       
      
17 
         
                        
          

24  
      

    
              
 
 
29  
      
               
      
           
   
36 
       
                        
 
   
43   
         
        
          
49  Fine
     

  
          
      
    
 
No. 19 - Larghetto op.75
accel.
      
                
          
    
 
6  
  
        
 
          
       
accel. accel. 
12  3
        
           
   
     
      

18
 
   
             

         
  
22  
            
         
    

    
 
        
  rit.
25
3
   
      
                   
       
   
   a tempo
30
rit. 3

3 3   

                
     
 accel.
3 3 3 3 Fine
36 
      
        
     

     
       

No. 20 - Allegretto op.75
     
  
 3             
 4    
   
    
   
9       
         
     
        
accel.
16  
        
  
              
       
24

    
      
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Estudios de Guitarra Solistas

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Pre-Transcribed Studies

Welcome to COMPOSITION of the SEASON. This is the title of my

Clubs 1997 1997 832-762

Arithmix 2010 2010 TXu 1-733-386

1 Rubin 1,2,4,6,8,11 1994 1995 2-021-074

2 Topas 3,5,7,9,10 1995 1995 2-021-075

3 Opal 12,13,14,15,16,17 1995-96 1996 2-119-170

4 Aquamarin 18,19,20,21,22,23 1996 1996 2-119-169

5 Smaragd 24,25,26,27,28,29,30 1997 1997 2-246-987

6 Beryll 31 1997-98 1998 2-337-973

7 Onyx 32 1998 1998 2-337-970

8 Saphir 33 1998 1999 2-390-206

9 Tigerauge 34 1999 1999 2-393-140

10 Bernstein 35,36 1999 1999 2-446-560

11 Türkis 37,38 1999 1999 2-444-934

12 Hyazinth 39,40 2000 2000 2-507-426

13 Jade 41 2000 2001 2-565-950

14 Diamant 42 2001 2001 2-607-938

15 Granat 43 2002 2003 2-809-639

16 Amazonit 44 2002 2002 2-706-088

17 Achat 45 2002 2003 2-722-379

18 Nephrit 46 2002 2003 2-722-379

19 Serpentin 47 2003 2003 2-765-899

20 Lapislazuli 48 2003 2003 2-765-899

21 Karneol 49,50,51,52 2003 2003 2-787-247

22 Mondstein 53 2003 2003 2-809-639

23 Bergkristall Nr. 1 54,55,56 2003 2003 2-873-065

24 Bergkristall Nr. 2 57,58,59 2004 2004 2-908-351

25 Bergkristall Nr. 3 60 2004 2004 2-908-351

26 Bergkristall Nr. 4 61 2005 2005 3-002-415

27 Bergkristall Nr. 5 62,63 2006 2006 3-099-848

28 Bergkristall Nr. 6 64,65,66 2007-2008 2008 3-358-149

29 Bergkristall Nr. 7 67,68 2009 2009 3-432-147

30 Bergkristall Nr. 8 69,70,71 2009 2009 3-442-866

31 Epilog 72 2010 2010 3-463-787

32 73, 74 2010 2010 3-528-003

33 75 2018-2019 All Rights Reserved

1. My grandfather (1970) pencil drawing on paper,

2. Souls (1971) pen-and-ink drawing on paper,

3. H. Stoffels (copy) (1973) oils on cardboard,

4. Fur Coat (copy) (1973) oils on cardboard,

5. Islander (1973) red chalk on paper,

6. At the window (1973) oils on cardboard,

7. Sensitive (1974) pencil drawing on paper,

8. Puppet on a string (1974) oils on cardboard,

11. The prophet (1977) pencil + white chalk on paper,

12. The holy virgin (1977) pencil + white chalk on paper,

13. Blue(s) (1977) red chalk on paper,

14. Arabian (1977) pencil drawing on paper,

15. The empty dish (1978) oils on canvas,

16. Unemployed teeth (1978) black charcoal + white chalk on paper,

18. A new christ is born (1979) oils on cardboard,

19. Dark boy (1979) black charcoal on cardboard,

20. Anxious (1979) pencil + white chalk on cardboard,

23. Sides of my soul (1984) oils on canvas,

24. Animal's Enemy (1984) oils on canvas,

26. Silk scarf II (1985) oils on canvas,

27. The break (1987) oils on canvas,

28. On the beach (1988) oils on cardboard,

29. Who of them? (1988) gouache on hardboard,

30. Couple of lovers (1988) gouache on hardboard,

owner: Ellen Kohlrausch, Bothel

31. Magic window (1988) oils on cardboard,

owner: Ellen Kohlrausch, Bothel