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    El Cantar de La Luna Oscura 2006 - Mago de Oz-Violin

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    Ricardo Ponce
    The document appears to be musical notation for a violin piece, containing multiple sections with varying tempos and time signatures. It introduces different melodic phrases and motifs played across the violin's ranges. The notation includes dynamics, ornaments, and lyrics in Spanish that evoke themes of love and memory.

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    El Cantar de La Luna Oscura 2006 - Mago de Oz-Violin

    Uploaded by

    Ricardo Ponce
    37 views3 pages
    The document appears to be musical notation for a violin piece, containing multiple sections with varying tempos and time signatures. It introduces different melodic phrases and motifs played across the violin's ranges. The notation includes dynamics, ornaments, and lyrics in Spanish that evoke themes of love and memory.

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    Copyright

    © © All Rights Reserved

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    The document appears to be musical notation for a violin piece, containing multiple sections with varying tempos and time signatures. It introduces different melodic phrases and motifs played across the violin's ranges. The notation includes dynamics, ornaments, and lyrics in Spanish that evoke themes of love and memory.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as pdf or txt
    37 views3 pages

    El Cantar de La Luna Oscura 2006 - Mago de Oz-Violin

    Uploaded by

    Ricardo Ponce
    The document appears to be musical notation for a violin piece, containing multiple sections with varying tempos and time signatures. It introduces different melodic phrases and motifs played across the violin's ranges. The notation includes dynamics, ornaments, and lyrics in Spanish that evoke themes of love and memory.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as pdf or txt
    of 3

    violin

    Mohamed + Fernando
    entra Carlitos

      
    intro Frank acustica

                     
     = 170

        
     = 120

       

                                              
    41  = 130

                             
    45

                                           
    49 3

     
                                    
    53 3

       
     

          
                    
    56
    Es el país de la Luna Oscura..

      
                                      
     
    62
    Apuestos galanes..

     
                         
    68

     

          

     
                 
               
    73
                                 
    2
    De Olvido vive..

              
    81

                            
           
                
    88

                  

    Mohamed + Fernando

        
                     
        
    95 3

                                             
    101  = 126

                             
    105

     
                                 
    109 3

                                           
    113


    3

            
    o guitarra Jorge Salan

         
    116


                      
    interlude raro Es la inocencia..

             
    127 3

                     
                 
    De olvido vive..

      
    140

    

                            
               
          
    146

     
                                       
    3


          
       
    153

                                         

    coroFinal

             
    160

                           


         
       
    168

                           


         
       
    176

       
     

    184

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