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Estudios Sencillos Vi tab by Brouwer Leo

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Estudio VI, from Estudios Sencillos
by Leo Brouwer

Tabbed by - R. Joe Weiblen - [email protected]

Every note is a sixteenth note, except for the downbeat of every
measure, which is a half note. Thus, sustain the first note of
every measure through the first eight notes (in the coda, that's
the whole measure).

There are two finger patterns, one for the first secion and one for the
coda, and both are easy to pick up. Plus, every measure repeats once (with
two exceptions), so there's half as much to learn.

Right hand (left hand for left-handers)
p- thumb, i- index, m- middle, a- ring, p- pinky

Left hand (included when relevant)
1- index, 2- middle, 3- ring, 4- pinky

       p a m i a m i p a m i p   p a m i a m i p a m i p
e|---|---0-----0---------------|---0-----0---------------|
Chord diagramBB|---|-----4-----4-----4-------|-----4-----4-----4-------|
Chord diagramG+G|-3-|-------6-----6-----6-----|-------6-----6-----6-----|
Chord diagramD MajorD|-4-|---------------7-----7---|---------------7-----7---|
Chord diagramA augmentedA|---|-0---------------------0-|-0---------------------0-|
Chord diagramE MajorE|---|-------------------------|-------------------------|
           1 3       4

    move ever increasingly toward ponticello
    and gradually crescendo with each measure

|---0-----0---------------|---0-----0---------------|
|-----4-----4-----4-------|-----4-----4-----4-------|
|-------6-----6-----6-----|-------6-----6-----6-----|
|---------------5-----5---|---------------5-----5---|
|-0---------------------0-|-0---------------------0-|
|-------------------------|-------------------------|
      1 3       2

|---0-----0---------------|---0-----0---------------|
|-----4-----4-----4-------|-----4-----4-----4-------|
|-------5-----5-----5-----|-------5-----5-----5-----|
|---------------4-----4---|---------------4-----4---|
|-0---------------------0-|-0---------------------0-|
|-------------------------|-------------------------|
      3 4       2

|---0-----0---------------|---0-----0---------------|
|-----3-----3-----3-------|-----3-----3-----3-------|
|-------4-----4-----4-----|-------4-----4-----4-----|
|---------------3-----3---|---------------3-----3---|
|-0---------------------0-|-0---------------------0-|
|-------------------------|-------------------------|
      3 4       2

these measure ought to be all the way ff and ponticello.
|---0-----0---------------|---0-----0---------------|
|-----2-----2-----2-------|-----2-----2-----2-------|
|-------4-----4-----4-----|-------4-----4-----4-----|
|---------------2-----2---|---------------2-----2---|
|-0---------------------0-|-0---------------------0-|
|-------------------------|-------------------------|
      2 4       1

contrastingly, these measure are more tasto and piano
|---0-----0---------------|---0-----0---------------|
|-----1-----1-----1-------|-----1-----1-----1-------|
|-------4-----4-----4-----|-------4-----4-----4-----|
|---------------2-----2---|---------------2-----2---|
|-0---------------------0-|-0---------------------0-|
|-------------------------|-------------------------|
      1 4       2

rubato, moving away from tasto
|---0-----0---------------|---0-----0---------------|
|-----0-----0-----0-------|-----0-----0-----0-------|
|-------5-----5-----5-----|-------5-----5-----5-----|
|---------------2-----2---|---------------2-----2---|
|-------------------------|-------------------------|
|-3---------------------3-|-3---------------------3-|
  2     4       1

|---0-----0---------------|---0-----0---------------|
|-----0-----0-----0-------|-----0-----0-----0-------|
|-------2-----2-----2-----|-------2-----2-----2-----|
|---------------2-----2---|---------------2-----2---|
|-------------------------|-------------------------|
|-2---------------------2-|-2---------------------2-|
  2     4       3

|---0-----0---------------|---0-----0---------------|
|-----0-----0-----0-------|-----0-----0-----0-------|
|-------2-----2-----2-----|-------2-----2-----2-----|
|---------------0-----0---|---------------0-----0---|
|-------------------------|-------------------------|
|-1---------------------1-|-1---------------------1-|
  1     4

|---0-----0---------------|---0-----0---------------|
|-----0-----0-----0-------|-----0-----0-----0-------|
|-------2-----2-----2-----|-------2-----2-----2-----|
|---------------2-----2---|---------------2-----2---|
|-------------------------|-------------------------|
|-0---------------------0-|-0---------------------0-|
        4       3

|---0-----0---------------|---0-----0---------------|
|-----0-----0-----0-------|-----0-----0-----0-------|
|-------1-----1-----1-----|-------1-----1-----1-----|
|---------------2-----2---|---------------2-----2---|
|-------------------------|-------------------------|
|-0---------------------0-|-0---------------------0-|
        1       2

CODA
      p a m i p a m i
|---|---0-------------|---0-------------|---0-------------|
|---|-----0-----0-----|-----0-----0-----|-----0-----0-----|
|-2-|-------10----10--|-------10----10--|-------11----11--|
|-4-|---------12----12|---------12----12|---------11----11|
|---|-0---------------|-0---------------|-0---------------|
|---|-----------------|-----------------|-----------------|
            1 3                                   4 3

same finger style throughout the coda
  p a m i p a m i
|---0-------------|---0-------------|---0-------------|
|-----0-----0-----|-----0-----0-----|-----0-----0-----|
|-------11----11--|-------7-----7---|-------7-----7---|
|---------11----11|---------4-----4-|---------4-----4-|
|-0---------------|-0---------------|-0---------------|
|-----------------|-----------------|-----------------|
                          4 1
|---0-------------|---0-------------|---0-------------|
|-----0-----0-----|-----0-----0-----|-----3-----3-----|
|-------6-----6---|-------6-----6---|-------4-----4---|
|---------6-----6-|---------6-----6-|---------3-----3-|
|-0---------------|-0---------------|-0---------------|
|-----------------|-----------------|-----------------|
        4 3                               2 4 1

                    fermata
|---0-------------|-----------------|
|-----2-----2-----|-----------------|
|-------4-----4---|-----------------|
|---------2-----2-|-----------------|
|-0---------------|-0---------------|
|-----------------|-----------------|
      2 4 1

There's a time at the end of the piece, meaning that the
composer thinks all the above should finish in about
1 minute and 25 seconds. Thats it for tempo.

Other versions of Estudios Sencillos Vi

Alternative guitar chords and tabs for Estudios sencillos x by Brouwer Leo

VersionType
Estudios sencillos viiTabs
Estudios sencillos viiiTabs

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