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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I almost left out the hairpins because their interpretation was not entirely clear. The first hairpin appears redundant to the un poco crescendo instruction.

If you have doubts about using my edition, tarreta remember that my changes do not change the music as it sounds.

I find it quite easy so far! Nevertheless, I opted for unambiguous clarity over interpretive freedom.

Adelita – Wikipedia

It’s easier for inexperienced players to grasp this when there’s one acciaccatura note, but addlita becomes fuzzy for them when there are two notes involved which can be confused for two sixteenth notes. 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.

Although I have preserved the original D. Instead of acciaccaturas forming reverse mordents, I unambiguosly represent the notes with their actual values so there is no question that they are played on the same beat as the second voice bass note. These are not guide finger indications. Both the Antich y Tena and Anido editions tarrea use D. Although he did not invent the metronome, he manufactured and sold what became the most popular model.


Despite that possibility, I included them assuming they represented changes in dynamic intensity and added explicit intensity levels that were missing at the ends of the hairpins.

Adelita by Francisco Tárrega

A slide is denoted by a line connecting the two noteheads and does produce an audible slide effect. 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. Inner chord voices Because Tarrega was a guitarist he had a brilliant knowledge of how to write specifically for guitar.

Modern editions write D. 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.

Playing the slurs fluidly requires a well-developed little finger. If they were slurred, you would not strike the second note.

You’re supposed to play the acciaccatura as part of the same beat as the second voice bass note, not ahead of it. The second mistake I had heard was playing the portamentos—which are notated in the original as an unslurred slide to a grace note—by striking the end note twice instead of once.

I’ve never been one to use forums, but the GT forum is full of great people and helpful information at ALL levels! 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 acelita Beethoven’s Century: An unslurred slide means you slide from the first note to the second and strike the second note upon arriving.


Each voice, part, line is heard clearly and distinctly in it’s own “musical space”. In contemporary guitar notation—at least in the non-classical adeelita should be no need for a trailing grace note when the grace note’s pitch is the same as that of the following note.

The overall form of ‘Adelita’ trrega also typical of his small scale solo tsrrega pieces.

Adelita, by Francisco Tárrega: my Ukulele rendition

ByI believe the ahistorical convention of not playing repeats on a Da Capo became entrenched. If you are a novice guitarist, you may feel it is within your reach based on hearing the first half of the song.

A change I made that could impact musical interpretation is the addition of trrega dynamic levels to the hairpins.

Bottom bass notes 3. I used the Antich y Tena edition of Adelita as the source for my edition. 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.

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. That may account for why most recordings are played at an Andante or faster.