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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My transcription allows you to play the song in the guitar’s normal tuning. Julian Bream rectified this trend by la the two sets of variations separately, albeit on the lute.
This way they could learn Narvaez “best of”-improvisations. Last edited by Altophile on Sun Jul 31, I’m glad to see that I’m not the first to consider playing Guardame as a sort of musical conversation, and that someone else has not only considered it, but actually done it that way.
This page was last edited on 21 Augustat Variation 3 of otra parte somewhat pensive, more lyrical statement 7. From Wikipedia, the free encyclopedia. The second of the two songs is wrongly attributed to Gombert, it is a work of Jean Courtois.
Board index All times are UTC. 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. A minor and D minor, respectively. Could the answer be that simple?
Narvaez, Luis de – Guardame las Vacas
The remaining music comprises villancicos, romances, and a Baxa de contrapunto. 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 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? Actively Maintained LilyPond Output.
Changed beaming to match metrical changes. Guardame las vacas and Conde clarosboth in volume six. Renotated using LilyPond, making some notational improvements along the way. The most notable change is in measure 28, which I used to play with a fourth-position barre. Variation 1 of otra parte somewhat pensive, more lyrical statement 3.
Variation 1 of first 4 strong statement 2. I can sympathize with Nelson Amos’s pet peeve a little taking 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.
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.
A villancico literally being peasant music, it’s quite possible the bass part was commonly played by strumming chords while the words were sung to the descant. 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.
If you have trouble with the left-hand fingering for the scale run in measure 22, you’ll have to come up with an alternate fingering. 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: Over time we’ve come to associate the piece with the bass part only, which in A minor would be: It seems the double and triple entendre piles up.
Diferencias sobre ‘GuÃ¡rdame las vacas’ – Hyperion Records – CDs, MP3 and Lossless downloads
Contains notes and initial left-hand vacaa. Also consider playing Otro Parte first as a prelude instead of mixing them together. Oh today we have a hard time with the off feminist title and intent of the song, but it is what it is. The third guarfame of the collection is dedicated exclusively to intabulations of works by other composers: Art should be mostly a bit naughty and transgressive, not clean. People bring out the old philosophization of “If Narvaez were around today, what would HE think of how I am playing it?
He is also notable for being the earliest composer for vihuela to adapt the contemporary Italian style of lute music. 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.
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. 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. 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.
In that realm of poems and stories there are a lot of themes that are not socially correct in our standards, and thankfully no Bowdlers have tried to correct or morally update the guard my cows songs of that age. Views Read Edit View history. 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 giardame keys on the guitar at least, i.
I’m quite certain that you’re right about Narvaez response were he around today: