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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The third volume of the collection is dedicated exclusively to intabulations of works by other composers: What do you think? Could the answer be that simple? Variation 3 of otra parte somewhat pensive, more lyrical statement 7. It consists of a set of variations on a Spanish folk theme.

The approaches to solving this problem have been varied. Despite being in different keys, it is the descant that connects the two sets of variations. It lws 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 respective keys on the guitar at least, i.

[Free Classical Guitar Sheet Music] Luis de Narvaez – Guardame las Vacas

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. 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?

Rob MacKillop has a nice Guard my Cows on his website video section. A New Approach to Guardame las vacas? I don’t mind being kicked out of that imprinting if the player has juice and poetry.

People bring out the old philosophization of “If Vavas were around today, what would HE think of how I am playing it? Am I correct in that assumption, or could we get vadas with a strong statement in A minor, followed by a more pensive, lyrical one in D minor, another strong statement in A minor, followed by another more pensive, lyrical one in D minor, etc.?

First one example in one key la then another in another key. This page was last edited on 21 Augustat Instead, the title page refers to siete diferencias de guarda me las vacas.


Guárdame las vacas by Luys de Narváez –

Variation 2 of first 4 strong statement 4. Each should be treated as a separate set of variations and not as part of a single combined piece. From Wikipedia, the free encyclopedia.

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. Of course somewhere there is probably some dreary earnest version about a poor boy actually herding some prosaic old milk cows.

The collection begins with a preface, in which the composer dedicates the work to his patron Francisco de los Cobos. I’ve retained the previous version generated with Sibelius for those who want tablature or wish to compare Sibelius and LilyPond output. By using this site, you agree to the Terms of Use and Privacy Policy. Spanish romances could go on and on for more than a hundred verses so that a song could last an hour and more.

Its basic structure consists of a repeating bass part [ 1 ] overlayed with a descant.

Yepes plays all variations in order, but instead of transposing the otra parte into A minor, he went the other way and transposed the first four variations into D minor. Guardame las vacas and Conde clarosboth in volume six. Granted, my approach will seem jarring at first, as we’re not used to hearing the piece that way. Oh today we have a hard time with the off feminist title and intent of the song, but it is what it is.

I’m quite certain that vxcas right about Narvaez response were he around today: If you can play Message in a Bottleyou shouldn’t have a problem with the fingering. As a side note, I would opt for an arrangement that doesn’t take liberties with octaves unless doing so were necessary for some reason.

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Roman numerals in parentheses are not original and are provided for convenience only. In the process of retranscribing and renotating the piece using LilyPond, I made some changes to fingering. BTW, I think I found the reference to Amos’ article along with some insightful comments on this forum, so I should thank the folks here for their part in helping me solve history’s greatest mystery involving a song about cows: The second of the two songs is wrongly attributed to Vaxas, it is a work of Jean Courtois.


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.

Other than the guitar-specific fingerings including left-hand legatothe music the notes themselves should now match exactly the original tablature. Which one of the text versions was the source of inspiration to Narvaez remains us unknown.

Please consider supporting us by disabling your ad blocker on our website. 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.

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: 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.

At the time, the harmonic pairing of the bass part and the descant was associated with those names. First of all ; I think that the first four variations are a perfect well rounded whole. The new version matches more closely the original vihuela tablature by playing the measure in first position.

He is also notable for being the earliest composer for vihuela to adapt the contemporary Italian style of lute music. Thirdly I don’t think they neither belong nor work together. Changed beaming to match metrical changes. As far as otro parte being a second instruments score, have you ever tried lining them up and playing them? I can’t be the only person who’s ever thought of this, yet apparently I’m the only one promoting it!

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. I’ve heard and read different versions of the text, the one with double meaning about the king entrusting the ladies of the court to his right hand man, which also could have been the joke.