Move your hands safely and fluidly Enjoy fulfilling practices and meaningful work Play beautifully with expression and flow. Click the button to take a step towards an organized, effective guitar practice. As a non-classical electric guitarist who has always used a pick and never his fingers, this has been no small feat! See more I struggled with excess tension. My music sounded forced.

Author:Samunos Jugul
Language:English (Spanish)
Published (Last):16 September 2010
PDF File Size:12.45 Mb
ePub File Size:19.72 Mb
Price:Free* [*Free Regsitration Required]

Instead, the title describes the type of piece—a fantasy—along with a description that may set it apart from other works of the same type. I say may because multiple works may use the same descriptive text.

Such works can be distinguished from each other by their folio numbers or by assigning to each a number based on their order of appearance compared to other works of the same type. Luduvico was a celebrated harpist who used chromatic dissonances in his playing.

From here to near the end there are some dissonant notes; played well, they are not displeasing. The same can probably be said of any piece of unfamiliar music, but in this case it is particularly informative about the era of the work.

The music was likely quite different from anything yet composed for the vihuela. It sounds quite modern to 20th and 21st-century ears and may have sounded strange to the 16th-century musician and audience. If you find the style unfamiliar, you have the benefit of being able to listen to recorded performances.

I recommend listening to Julian Bream's performance on the lute I think it's better than his later vihuela recording , even though it gets one measure of music wrong more on that later.

The original tablature calls for E and A be played together in measure 42 of my transcription instead of in sequence.

I have arranged the piece to be played using arpeggios as much as possible instead of the non-overlapping notes specified in parts of the original tablature. Although sometimes more difficult to play, this approach produces better results on the guitar. The vihuela used two strings per course and could probably produce sufficient resonance when played one note at a time.

But even Julian Bream's lute peformance—the lute also using two strings per course—relied heavily on reverb natural or otherwise and the instrument's resonance to create a rich sound. In order to evoke the harp-playing the piece imitates, arpeggios suit the guitar well, allowing notes to ring one on top of another. Keep in mind, however, that Luduvico's technique for playing chromatic intervals on the harp involved pressing a string with his finger, meaning that notes likely didn't ring on top of one another.

Instead, the playing style was probably more like what Mudarra notated for the vihuela, where a note dies as soon as the next one is played on the same string. Of special note are measures 41—42, which you will almost always hear played incorrectly as a result of the plagiarizing of transcription errors or editorializations common in the music publishing industry.

If you look at the actual tablature in Figure 1 , measure 42 of my transcription is correct, where the E 2nd fret fourth string and A open fifth string are played together instead of in sequence, as commonly played. When playing this piece—at least with the fingerings in this edition—it is especially important to place your fingers in position as you are playing. In many instances, you will want to leave a finger in place as long as possible before moving it, ensuring a note sounds to maximum duration.

At various points you will have to make use of hinge barres. That allows you to bring the barre back down onto the strings to play the subsequent E.

Also, in measure 73, play the third-string A by using a hinge barre, keeping the first finger on the fourth-string E. It is possible to play that sequence without a barre, using the third finger for the C , the first finger for the E , and the second finger for the A , but that makes it less comfortable to move into position for the first chord of the next measure.

Play it whichever way works best for you. Changed the A' in measure 59 from a half note to an eighth note. Even though it should in theory be a half note, it only sounds as long as an eighth note using the provided guitar fingering. Regenerated output after fixing LilyPond 2. The parameters used for LilyPond 2. First draft. Contains notes and initial fingering.

Later revisions may correct discovered errors, change fingering, improve legibility of the engraving, and make other editorial changes. Original Tablature. Changed left-hand fingering in measures 71 and


Fantasia X by Mudarra for Guitar

Alonso Mudarra c. He was an innovative composer of instrumental music as well as songs, and was the composer of the earliest surviving music for the guitar. The place of his birth is not recorded, but he grew up in Guadalajara , and probably received his musical training there. When he returned to Spain he became a priest, receiving the post of canon at the cathedral in Seville in , where he remained for the rest of his life. While at the cathedral, he directed all of the musical activities; many records remain of his musical activities there, which included hiring instrumentalists, buying and assembling a new organ, and working closely with composer Francisco Guerrero for various festivities.


Fantasía X (Mudarra, Alonso)



Mudarra, Alonso – Fantasia


Related Articles