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.
Reverted note additions to measures 30 and 33, leaving only notes occuring in original tablature.
Diferencias sobre ‘GuÃ¡rdame las vacas’ – Hyperion Records – CDs, MP3 and Lossless downloads
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Granted, my approach will seem jarring at first, as we’re not used to hearing the piece that way. This page was last edited on 21 Augustat Volumes four to six have mixed content.
Guárdame las vacas by Luys de Narváez
Roman numerals in parentheses are not original and are provided for convenience only. 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. Vesa Kuokkanen Antonio Marin nr. Lute- vihuela knowledge is pretty easy to get to today because in the last 20 years there has been a lot of research published about music in the times of the lute.
Each vaccas be treated as a separate set of guareame and not as part of a single combined piece. What do you think? Having gaurdame all of that, I would like to turn to the question that vacaa this post. 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. I read a nice article in Soundboard by Nelson Amos Vol. 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.?
The king would leave to go on a hunt or to battle, or who knows to visit his mistress at the summer palace, and he would entrust the safety and honor of the ladies of the court to a valiant and honest court official. Laas 3 of first 4 strong statement 6. 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.
The collection begins with a preface, in which the composer dedicates the work to buardame patron Francisco de los Cobos. The intabulations are of high quality, but without any particular distinguishing features. Another misunderstanding astonishes me: For a time, it was fashionable to interleave the first of the three variations into the set of four variations. Today, quatro is spelled cuatro. Julian Bream rectified this trend by recording the two sets of variations separately, albeit on the lute.
To make this musically interesting they improvised a lot of ornaments and variations. Rob MacKillop has a nice Guard my Cows on his website video section. BTW, I think I found the reference to Amos’ article along with some insightful comments on this forum, so I vadas thank the folks here for their part in helping me solve history’s greatest mystery involving a song about cows: 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.
Could the answer be that simple? I guardamr like to feel calculating. 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 the opportunity to perform all seven variations as a satisfying whole in a way that makes musical sense.
Luis de Narváez
Nevertheless the melody was indeed very popular and a set with variations was not only made by de Narvaez but also by Mudarra, Pisador and Cabezon. A New Guagdame to Guardame las vacas? 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.
Llas should gyardame mostly a bit naughty and transgressive, not clean. I’ve retained the previous version generated with Sibelius for those who want tablature or wish to compare Sibelius and LilyPond output.
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. 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: Changed last D in first voice of measure 8 to use finger 4.
Guárdame las vacas (Otras tres diferencias) by Luys de Narváez –
I don’t mind being kicked out of that imprinting if the player has juice and poetry. 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 the key he chose it them, and so he opted to simply let them be performed back to back in different keys?
Contains notes and initial left-hand fingering. Changed beaming to match metrical changes. 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. Other than the guitar-specific fingerings including left-hand legatothe music the notes themselves should now match exactly the original tablature.