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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Contains notes and initial left-hand fingering. Terribly astylistic to do this, but modern audiences are not so familiar with 16th century compositional practices and it usually doesn’t make a fuss with them. The remaining music comprises villancicos, romances, and a Baxa de contrapunto.
Diferencias sobre ‘Guárdame las vacas’ (Narváez, Luys de)
Listening to recordings makes certain interpretations imprint on the mind of the public. I suppose that my vacaas would probably require that either a the 3 variations from the otra parte be arranged in A minor for it to work musically, just as Segovia and Diaz had done, or b the first 4 variations be arranged in D minor, just as Yepes had done. Classical Guitar Skip to content. 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 too fast, which doesn’t fully develop its lyrical qualities.
Changed last D in first voice of measure 8 to use finger 4. So, for me, the otra parte should be performed, but in a way that makes musical sense.
It also does not change the key, leaving it in D minor. Thirdly I don’t think they neither belong nor work together. Apart from melodic variations, there are also two sets on ostinato harmonies: Is it possible that Narvaez simply felt that guadrame otra part sounds considerably better in the key he chose for it and that the first four variations sound better in the key he chose it them, and so he opted to simply let them be performed back to back in different keys?
The scores guadame were not meant for professionals vscas for public performance – the intended audience was the ignorant amateurs who could not improvise. What do you think? Over time we’ve come to associate the piece with the bass part only, which in A minor would be: It seems to me that while performing the otra parte after the first four variations is unsatisfactory from a modern musicological perspective, it also seems that both parts simply sound better in their respective keys on the guitar at least, i.
Segovia borrows only the first variation from the otra parte and places it in the middle of the first four, which works pretty well, though he transposed it to A minor to make it fit better musically. Please consider supporting us by disabling your ad blocker on our website.
But I doubt it is his original work, he was a writer who was promoting Spanish literary styles in Spain instead of the popular Italian styles, for ,as sonnet.
As a side-point, every arrangement I have has differences in certain measures that suggest that pretty much everyone has taken some minor liberties with octaves.
I think today we all, men and women, can have a giggle at the old song and what they meant. It consists of a set of gurdame on a Spanish folk theme. 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.
Although it is certainly a valid artistic choice to arrange the music in such a manner, doing so has misled many a listener as to the nature of the original work in addition to depriving the world of hearing the two remaining variations from the second set.
Luis de Narváez – Wikipedia
Volumes four to six have mixed content. Nevertheless the melody guarrame indeed very popular and a set with variations was not only made by de Narvaez but also by Mudarra, Pisador and Cabezon. Guardame las vacas and Conde clarosboth in volume six. This page was last edited on 21 Augustat Diaz takes all three variations from the otra parte and places them in the middle of the first set, again transposed to A minor, which seems to work even better than Segovia’s approach, because it gives the guitarist ghardame opportunity to perform all seven guardake as a satisfying whole in a way that makes musical sense.
Reverted note additions to measures 30 and 33, leaving only notes occuring in original tablature. I can’t be the only person who’s ever thought of this, yet apparently I’m the only one promoting it! Forum guitare classique – Forum chitarra classica – Foro guitarra clasica – Free sheet music for classical guitar – Delcamp.
To my ears, the otra parte sounds better on the guitar in D minor, so I can understand Yepes’ choice. Variation 1 of otra parte somewhat pensive, more lyrical statement 3. I’d like your feedback on a new approach that came to me last week as I was contemplating this wonderful work, namely a performance in the following order: There are probably some links going way back to Troubadour poetry of the middle ages, those kinds of themes are common in the sung a spoken to music prose poems of the Troubadours.
Other than the guitar-specific fingerings including left-hand legatothe music the notes themselves should now match exactly the original tablature. Yepes plays all variations in order, but instead of transposing the otra parte into A minor, he went the other way and transposed the first four variations into D minor.
My transcription allows you to play the song in the guitar’s normal tuning. Today, quatro is spelled cuatro. He translated Latin poems into the Spanish of his day so he was a conduit for all kinds of ancient Spanish Roman themes and poems. First one example in one key and then another in another key.
Actively Maintained LilyPond Output. In the process of retranscribing and renotating the piece using LilyPond, I made some changes to fingering. 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.
A minor and D minor, respectively. He also dabbled in Troubadour poems and recorded that work. I read a nice article in Soundboard by Nelson Amos Vol. Its basic structure consists of a repeating bass part [ 1 ] overlayed with a descant.