Salvatorre Sciarrino

LADDIO A TRACHIS II
A translation for guitar by Maurizio PIsati

Farewell to Trachis, a translation: it certainly works as a transcription but more properly a translation, a transfer of
thought and composition processes from one instrument to another.

In this homage to the music of Sciarrino Salvatorre, I used some of the techniques of sound processing at that time I
was making in the writing of "Seven Studies" for Guitar and this has contributed most to give the work the character
of the areas without practically altering the original intervallic and directional sign or
more generally constructive, imagining that thought in a situation guitar.

The Farewell to Trachis for guitar was written originally for the Harp, on two staves: the lower staff and
the most proper execution, the upper one indicates the ideal sonic result of continuity of sound, makes it easier
to read about the durations, divided durations depending on the distribution of intensity.

The use of any possible amplification can help considerably in the execution of the piece if it is seen as an
interactive tool with the interpretation, designed to emphasize and accommodate the differences and not to level
them according to a false idea of greater and more uniform audibility.
M.P. August 1993

Notes for running

The fingerings are an integral part of the sound, tone and form: they are therefore not only suggestions but rather are
to be considered binding for the exact reproduction of the evidence sought and desired during the translation work.

Night blocks: ie pinch in the ordinary way with the right handand touch indicita height with his left hand.

Sort of the most rapid tremolo on two strings can alternate.It can remain on the same height:
or glissando:
but without changing the fingering which we call "circular";
the right hand, which takes advantage of each finger to pluck two strings consecutively, slipping from first to second
in rapid alternation with the other fingers:
The right hand follows this fingering until the end of the sign:
The tremolos of a single string will be understood as being the fastest possible, a tight.
The fingering will always:
Fast attack and forced with the right thumb (P), and quickly glissando in the direction or the directions indicated.
Rapid glissandos and slides are as much as possible related and overlapping. Sometimes indicated in
brackets and the note of arrival, sometimes the note of arrival is not shown because the
fingering marked alone determines the end point of each glissando.

"Tambora," fast and light, alternating thumb and little finger to the sound hole Right Hand Right Hand of the bridge.

Harmonics and marked the height of tap and not the real result.