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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For a time, it was fashionable to interleave the first of the three variations into the set of four variations.
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. First one example in one key and then another in another key. Vesa Kuokkanen Antonio Marin nr.
An old song and we can look at it as an instrumental piece guaardame getting mired into the feminist critique of the sexist text content. Spanish romances could go on and on for more than a hundred verses so that a song could last an hour and more. Rob MacKillop has a nice Guard my Cows on his website video section. 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.
I’m quite certain that you’re right about Narvaez response were he vacws today: Guardame las vacas and Conde clarosboth in volume six. Other than the guitar-specific fingerings including left-hand legatothe music the notes themselves should now match exactly the original tablature.
The original right-hand fingering was rather unnatural.
Should it be “guard my cows” or “keep my cows”? As far as otro parte being a second instruments score, have you ever tried lining them up and playing them? So, if I understand you correctly, you laas transpose one of the sets into a key that corresponds with the other, but played them in their original keys, while alternating them?
Variation 1 of otra parte somewhat pensive, more lyrical statement 3. 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 guardqme the key he avcas it them, ghardame so he opted to simply let them be performed back to back in different keys?
Each should be treated as a separate set of variations and not as part of a single combined piece. The second of the two songs is wrongly attributed to Gombert, it is a work of Jean Courtois.
Changed last D in first voice of measure 8 to use finger 4. He was born in Granada and the earliest surviving references to him indicate that as early as he guardae a member of the household of Francisco de los Cobos y Molinaa well-known and very successful patron of the arts who was the Secretary of State and commentator for the kingdom of Castile under Charles V.
A villancico literally being peasant music, it’s quite possible the bass part was commonly played by giardame chords while the words were sung to the descant.
Last edited by Altophile on Sun Jul 31, I go back and forth on tempo, sometimes it sounds good slow and dreamy and almost with rubato, other times like brisk march and whatever is in between.
Having said all of that, I would like to turn to the question that prompted this post. Secondly these days I perform the piece on a vihuela which incidentally I will do in a concert in a few hours. Could the answer be that simple? A minor and D minor, respectively. 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: Which one of the text versions was the source of inspiration to Narvaez remains us unknown.
Renotated using LilyPond, making some notational improvements along the way. Forum guitare classique – Forum chitarra classica – Foro guitarra clasica – Free sheet music for classical guitar – Delcamp. My transcription allows you to play the song in the guitar’s normal tuning. Of course somewhere there is probably some dreary earnest version about a poor boy actually herding some prosaic old milk cows. I have several arrangements of this piece, and I found it puzzling that some arrangers and performers include anywhere from one to three extra variations beyond the four that I learned when I started playing guitar using Frederick Noad’s books.
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.
Despite being in different keys, it is the descant that connects the two sets of variations. I’ve also played it as Diaz did, with the three transposed variations placed in the middle this is my preferred approach at the moment. Changed some fingering in measures 30, 32, and 33 to match original tablature.
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. Terribly astylistic to do this, but modern audiences are not so familiar with 16th century compositional gjardame and it usually doesn’t make a fuss with them. The intabulations are of high quality, but without any particular distinguishing features.
He is also notable for being the earliest composer for vihuela to adapt the contemporary Italian style of lute music. The most notable change is in measure 28, which I used to play with a fourth-position barre. If you can play Message in a Bottleyou shouldn’t have a problem with the fingering.
Thirdly I don’t think they neither belong nor work together. Updated fingering and added guitar-specific legato. To make this musically interesting they improvised a lot of ornaments and variations. 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, law strong statement in A minor, followed by another more pensive, lyrical one in D minor, etc.?
People bring out the old philosophization of “If Narvaez were around today, what would HE think of how I am playing it? Nevertheless the melody was indeed very popular and a set gusrdame variations was not only made by de Narvaez but also by Mudarra, Pisador and Cabezon. Its basic structure consists of a repeating bass part [ 1 ] overlayed with a descant.
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