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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Luis de Narváez

Yepes’ and Romero’s approaches just don’t work for me, though, with the otra parte at the end, even though they seem to be more in harmony Narvaez’s intent. Or bed them while the king if off doing kingly duties? The new version matches more closely the original vihuela tablature by playing the measure in first position. 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?

First of all ; I think that the first four variations are a perfect well rounded whole. 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.

Variation 1 of otra parte somewhat pensive, more lyrical statement 3. Whereas the first set of variations in A minor are easily played in standard guitar turning, guatdame three variations can be a lzs awkward at times. Although still a transcription and arrangement for the guitar and not a literal vihuela tablature transcription, this version should be more readable and somewhat truer to the original vihuela tablature.

Granted, my approach will seem jarring at first, as we’re not used to hearing the piece that way.


Luis de Narváez – Wikipedia

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. For a time, it was fashionable to interleave the first of the three variations into the set of four variations.

Last edited by Altophile on Sun Jul 31, Each should be treated as a separate set of variations and not as part of a single combined piece.

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. Its basic structure consists of a repeating bass part [ 1 ] overlayed with a descant. However, aside from Amos’s pet peeve, are there any vcaas musicological considerations that argue strongly against it?

It was a popular song with a double entendre meaning. Of course somewhere there is probably some dreary earnest version about a poor boy actually herding some prosaic old milk cows. Updated fingering and added guitar-specific legato. I’m quite certain that you’re right about Narvaez response were he around today: As far as otro parte being a second instruments score, have you ever tried lining them up and playing them?

Changed beaming to match metrical changes. 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.

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. Listening to recordings makes certain interpretations imprint on the mind of the public.

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: Roman numerals in parentheses are not original and are provided for convenience only. Views Read Edit View history. The third volume of the collection is dedicated exclusively to intabulations of works by other composers: It consists of a set of variations on a Spanish folk theme.


Vesa Kuokkanen Antonio Marin nr.

The second of the two songs is wrongly attributed to Gombert, it is a work of Jean Courtois. This page was last edited on 21 Augustat Variation 3 of otra parte somewhat pensive, more lyrical statement 7.

Narvaez, Luis de – Guardame las Vacas

Nevertheless the melody was indeed very popular and a set with variations vacaz not only made by de Narvaez but also by Mudarra, Pisador and Cabezon. I suppose that my idea 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.

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 oas world of hearing the two remaining variations from the second set.

I read a nice article in Soundboard by Nelson Amos Vol.

A New Approach to Guardame las vacas? – Classical Guitar

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. From Wikipedia, the free encyclopedia. Could the answer be that simple?

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