Guárdame las vacas is a villancico more than half a millennium old. Its basic structure consists of a repeating bass part overlayed with a descant. A villancico. Here’s the music notation and TABs for Guardame las Vacas by Luis de Narvaez for Classical Guitar. Please feel free to download, print, and share it. Last weekend I spent some time trying to solve something that has puzzled me about Guardame las vacas for a while now. I have several.
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I read a nice article in Soundboard by Nelson Amos Vol.
Guárdame las vacas (Otras tres diferencias) by Luys de Narváez
I can sympathize with Nelson Gkardame pet peeve a little vaacas liberties with this historically important piecebut a it really is musically unsatisfactory, to my ears at least, to perform the otra parte after the first set of variations, yet b the otra parte is beautiful and really enhances the attractiveness of the work.
An old song and we can look at it as an instrumental piece without getting mired into the feminist critique of the sexist text content. Changed some fingering in measures 30, 32, and 33 to match original tablature. Angel Romero also plays all variations in order, and while his performance of the first four variations is exquisite, I think he plays the otra parte a bit guardamd fast, which doesn’t fully develop its lyrical qualities. He may be wrong, of course, but my approach is based on the assumption that he got it right, whether this is valid or not.
There is some debate over whether the vacsa composition consists of four or seven variations. Volumes four to six have mixed content. As far as otro parte being a second instruments score, have you ever tried lining them up and playing them?
Board index All times are UTC. Thirdly I don’t think they neither belong nor work together.
Granted, my approach will seem jarring at first, as we’re not used to hearing the piece that way. He also dabbled in Troubadour poems and recorded that work. Our website is made possible by displaying online advertisements to our visitors. This page was last edited on 21 Augustat Today, quatro is spelled cuatro. Could the answer be that simple? The first two volumes contain fourteen polyphonic fantasias, modelled after Italian pieces of the same kind.
The new version matches more closely the original vihuela tablature by playing the measure in first position. I assume that the original four were in Gb minor on the lute, and the second three were in B minor on the lute, is that correct? Each should be treated as a separate set of variations and not as part of a single combined piece. What I’ve learned is that Narvaez wrote two sets of variations, the one with four, that everyone plays, and then another, the otra parte, with three more in a different key.
Am I correct in that assumption, or could we get away with a strong statement in A minor, followed by a more pensive, lyrical one in D minor, another strong statement in A minor, followed by another more pensive, lyrical one in D minor, etc.?
Luis de Narváez – Wikipedia
To make this musically interesting they improvised a lot of ornaments and variations. Its basic structure consists of a repeating bass part [ 1 ] overlayed with a descant. Despite being in different keys, it is the descant guatdame connects the two sets of variations.
The approaches to solving this problem have been varied.
Or bed them while the king if off doing kingly duties? However, aside from Amos’s pet peeve, are there any other musicological considerations that argue strongly against it? Confusion arises because the immediately following work in the original manuscript, Otras tres diferencias hechas por otra parteis not listed on the title page or index.
Renotated using LilyPond, making some notational improvements along the way. BTW, I think I found the reference to Amos’ article along with some insightful comments on this forum, so I should thank the folks here for their part in helping me solve history’s greatest mystery involving a song about cows: Can someone help me to translate the title?
You can over think this stuff, probably not a good idea. Discussions relating to the classical guitar which don’t fit elsewhere. Listening to recordings makes certain interpretations imprint on the mind of the public. Changed last D in first voice of measure 8 to use finger 4. Please consider supporting us by disabling your ad blocker on our website. So, if I understand you correctly, you didn’t transpose one of the sets into a key that corresponds with the other, but played them in their original keys, while alternating them?
What do you think? My transcription allows you to play the song in the guitar’s normal tuning.
Last edited by Altophile on Sun Jul 31, The collection begins with a preface, in which the composer dedicates the work to his patron Francisco de los Cobos. Whereas the first set of variations in A minor are easily played in standard guitar turning, these three variations can be a little awkward at times.
A minor and D minor, respectively. It’s not that difficult to use a capo to set one guitar in the same key as the one playing open even though the scores are two different keys.
Is it possible that Narvaez simply felt that the otra part sounds considerably better in the key he chose for it and that the first four variations sound better in guardae key he chose it them, and so he opted to simply let them be performed back to back in different keys?
Another misunderstanding astonishes me: The scores published were not meant for professionals and for law performance – the intended audience was the ignorant amateurs who could not improvise.
[Free Classical Guitar Sheet Music] Luis de Narvaez – Guardame las Vacas
As a side note, I would opt for an arrangement that doesn’t take liberties with octaves unless doing so were necessary for some reason. It consists of a set of variations on a Spanish folk theme. Changed guadame to match metrical changes.