htMP3

tps:/ guitarnosov.cCollection
om/library/populNo.20
ar-music/ *)

PAMPERO
Tuning:
Jorge Morel


E; B; G; D; A; E

    
Allegro vivace [≈

Guitar    
    
    
1 _3

        
  1
0 2
0

 
3


1 1


0  0 0

         
    
Andrey Nosov's Guitar School... Only the Best Materials...

           
6

       
  
0 4
0 3 _0 0 3 _0
3 0 3
2 0 2
1 1

  
0 cresc. 0

               0
  
              
10

  
4
0 3 _0 4
3_

  
2


1


0 3 1 3
2 0 2 0 2
0 1
1

            
0 0

           1 
 3 
  
15 0

2
4 4
3_

 
2 2


1 1 1 1 0 0 0 2
0 2 0 0 2 2
1 1

       
0

         3 2       3
19 3 _

      1     
0 0
0 0

 
1 0 3
2 1 2 2
0 1


 *)
0 0

   0 25 3 2 3 0 2 3  0    3 2 3 0 2   0

  
  23 
24 _3
0 2

1    (4)    
2
(4) (4)

  1

1 1
0 0

 
                          
     
28 3 3 2 2 3 3 2 2
0 0 0 0

       
0 2 3 3 2 3 3
0 0

 1 1 1


0

      
        
  
     
  
32 3 2 2 3 3 2 202 0
0 0 0 0 0

       
_3 3 3


3
2 2
1 1 1 1
0

                          
     
36 3 3 2 2 3 3 2 2
0 0 0 0

       
0 2 3 3 2 3 3
0 0

 1 1 1
0

)
* From A.Nosov's archives of sheet music
https://www.guitarnosov.com
  
             3  1 0  1 3 0 3
III


  2    2   
40 1 0 0 4


_3

    
3 1 3


1 0  3 0 0

                            
         
44 1 0 0 1
4 1 0 0 4

     
3 1 3 1 1 1
0

 
0 2
2
Andrey Nosov's Guitar School... Only the Best Materials...

0 0 0 0
1 3

 
             3  1 0  1 3 0 3
III

        2   
48 1 0 0 4


4

    
1 3
0 

  3 0
0
4
0 0 0
3

                            
         
52 1 0 0 1 4 1 0 0 4

     
3 1 3 1 1 1
0 2

 
0
2
0 0 0 0

    
1 3


         
      
   
 
56 i 3 2 2 3 3 2 202 0
0 0 0 0

        
3 3


0

 
_ 0 3


2 2
4
3 1 1 1
0

  
(p) a

                     63     
     
60 3 3 2 2 3 3 2 2
0 0 0 0

       
0 2 3 3 2 3 3
0 0

 1 1 1
0

        
II

                    
64 3

     
i 4

  
_3

  
2 0 1 4
0 3 0 3 3
1 2 1
4  3 0 2


1 4 3
2



a

     
V

      
      
   
III IV

    
i 3

      
68 i i 4

      
3 4

  
2 2 2 3
4 4 4 3


4 2
3 3 3 
a a a 


1

            
 
          



4 3 3 4 4 3 3 3

           
72 4 4


4 4
3 3
2 2 2 2


2
          4 3 4 3 
  3  4  4 _4   3 
   
4 3 3 4

        
76 4

2  2 2  2
    
 

                 4 
 
       3 
4 3 3 4 4 3 3 3

      
80 4 4


4
3
2 2 2 2
Andrey Nosov's Guitar School... Only the Best Materials...

         4 3 4 3  3  4  4 _4 3  _4 _3 






   
4 3 3 4

      
84 4

2  2 2   
 

                     
   

    
           
88 4 4 4
1 _1 1 1 1
2 _2 0 2 0 2 0 3

 
0 0 0

 0


2
3 3

       
        
VII

    
2 i

    
4 4


92

 
1

 
4 2 
1

  
0 0 2 0  2


0 3
4  4


1 3
1 2


2 a

       
          
          
  
4


4 3 3 4 3 3 3

        
4 4
96


4 4
3 3
2 2 2 2

           
                   
4 3 3 4 4 3 3

   
4 4 3 4 4 3
100 2

2   2 2

 ()
    4 1     0 0
   2 0
104

2  
  2  
(3) 0 4 1

    
2 4 1
2 4 0


                        

108 4
1 3 2 4 2 4
1 _1 1 3 1 3 1
4 2 4 3 4
1 1 3 1 0
   




  
           
   3 2  0 0 4
      
112 114 115

 
0 _
2

 1
1 0 1
3 3 4
1 0 1 0
1 
   2

0

3
      
                      
116 0 4 0
3 0 3 0 3 0 3
2 2

   
2 2

 
0 0

1 1 1
0 2 0 0 2 0

    1     

V

3
III

 
Arm.12 **)

 24  2  
i


120 2 i

 43
a  3
 



 

Andrey Nosov's Guitar School... Only the Best Materials...

SCHEME OF COMPOSITION *)
Step One: "1" to "114" measure inclusive (measure numbers are shown in figures in the boxes).
Step Two: transition to the "25" measure and from the "25" measure to the "63" measure inclusive.
Step Three: transition to the "115" measure and from the "115" measure until the end.
Let me also remind you that according to the rules of notation,
the measure numbers are shown in the beginning of the measures.
**) Аrm – Natural Harmonics

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Andrey Nosov