Adelita by Francisco Tarrega tab with free online tab player. One accurate version. Recommended by The Wall Street Journal. Tárrega, Francisco Adelita sheet music for Guitar – The Artist: Francisco Tárrega was born in Villa-real, Spain on November 21, He was one. Play Michael Chapdelaine’s Arrangements of Tárrega’s ‘Adelita’ and ‘Lagrima’. Blair Jackson August 11,

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Both the Antich y Tena and Anido editions clearly use D. You’re supposed to play the acciaccatura as part of the same beat as the second voice bass note, not ahead of it. In the 19th century, the term was confused with the appoggiatura. A change I made that could impact musical interpretation is the addition of explicit dynamic levels to the hairpins.

That is, except for measure 14, where the Antich y Tena and Anido editions show the forte between the hairpins, but on the bottom of the staff while the hairpins are above the staff.

In contemporary guitar notation—at least in the non-classical world—there should be no need for a trailing grace note when the grace note’s pitch is the same as that of the following note. Composers as varied as Haydn, Beethoven, Chopin, and Schubert used hairpins as agogic and voicing instructions instead of as dynamic intensity indicators, for which the written instructions crescendo adeliha decrescendo as well as abbreviated dynamic markings were used instead for more information see The Secret Life of Musical NotationRoberto Poli, If they were slurred, you would not strike the second note.

It is not clear, however, that it qualifies as a mazurka.

Despite that possibility, I included them assuming they represented changes in dynamic intensity and added explicit intensity levels yarrega were missing at the ends of the hairpins. After much thought, I decided that the accents on the notes after the acciaccaturas were too confusing for players without much notational experience.

I believe these changes resulted in more compact, unambiguous, and easy to read music.

Still, today the classical guitar world cannot bring itself to use the term slide and much confusion abounds regarding the difference between glissandosportamentosand finger shifts. Even if you’ve mastered barres, upon reaching measures 11 and 12, you may reach an impasse.


This is more than just a theory; it becomes quite clear when you read the music as originally notated and compare it to later editions which mistakenly edit the original notation.

Mozart, Beethoven, and other great composers expected their Da Capos to respect the playing of repeats unless accompanied by an additional instruction to not do so see Beethoven’s Century: Therefore, you may choose to play the piece faster than the 60 bpm I’ve listed, opting for a faster 80—90 in the Andante range. I find it quite easy so far! The first hairpin appears redundant tagrega the un poco crescendo instruction. Although he did not invent the metronome, he manufactured and sold what became the most popular model.

If you are a adelitq guitarist, you may feel it is within your reach based on hearing the first half of the song.

Play Michael Chapdelaine’s Arrangements of Tárrega’s ‘Adelita’ and ‘Lagrima’

This is contrasted with a section in trarega major key that is joyful sounding. I LOVE the forum, too. The performer should have some flexibility as to how to play the ornament.

Inner chord voices Because Tarrega was a guitarist he had a brilliant knowledge of how to write specifically for guitar. Adelita is deceptively simple. By the 20th century, however, the notion of avoiding repeats had become widespread. Instead of acciaccaturas forming reverse mordents, I unambiguosly represent the notes with their actual tarreg so there is no question that they are played on the same beat as the second voice bass note.

Notation Changes and Commentary.

Francisco Tárrega: ¡Adelita! (Mazurka) | KS Classical Guitar Blog

I had heard at least two mistakes made with respect to playing the piece. At first, the primary change I made was to extend the slurs from the acciaccaturas [ 2 ] to the note following the acciaccatura forming a so-called reverse or inverted mordent. I also replaced the trailing grace note portamento representations with a modern-day unslurred slide. One section is in a minor key, sounds very bittersweet and sadly dramatic. That said, before the widespread use of metronome marks, [ 1 ] the intended beats per minute of a particular tempo indicator was ambiguous at best.

Adelita (Tárrega, Francisco)

His music always shows complete command of the instrument. Each voice, part, line is heard clearly and distinctly in it’s own “musical space”. Finally, there is a return to the original key, be it minor or major. A slide is denoted by a line connecting the two noteheads and does produce an audible slide effect. These are not guide finger indications.


There is also an additional Romantic aspect in the use of extended harmony notes in the melodic lines, such as dominant 9ths, flat 9ths, dominant 13ths, flat 13ths. Bottom bass notes 3. A guide finger indication is denoted by a line connecting the two identical fingering numbers of two consecutive notes and does not produce an audible slide effect.

His music is very classical in nature because tarrdga is usually a clear melody supported by a bass line that creates tarrdga classical harmony, chord progression and voice leading.

Open In New Window. As a side note, I believe notated guide finger tareega to be superfluous; it suffices to see that two consecutive notes use the same finger number. In the end, I abandoned my changes and decided to eliminate all acciaccaturas and trailing grace notes.

It’s easier for inexperienced players to grasp this when there’s one acciaccatura note, but it becomes fuzzy for them when there are two notes involved which adleita be confused for two sixteenth notes. Adelits used the Antich y Tena edition of Adelita as the source for my edition. After much debate, I decided to make significant notational changes that do not change the meaning of the music, but make it easier for the contemporary player to understand.

Therefore, I assume—perhaps incorrectly—the repeats were not meant to be observed. Modern editions adellita D.

If you have doubts about using my edition, please remember that my changes do not change the music as it sounds. Although I have preserved the original D.

Playing the slurs fluidly requires a well-developed little finger. The hairpins in the Antich y Tena edition of Adelita —faithfully preserved in the Anido edition, but butchered in modern editions—that follow the contours of the notes instead of being placed horizontally above or below the staff—and also lacking accompanying dynamic intensity markings—may represent agogic considerations and not dynamic intensity changes.