Suite Espanola, Op. 47 (Manuel Barrueco Guitar Editions) Download Pdf
the fifth and last publication is from 1740 in germany and was probably performed by bach on the lute. the movement names and the ordering of the five movements of this publication are the same as those in the silbermann publication from 1713. the opening of the gigue is the same as in the 1713 publication, but different from the other movements. the two buxtehude pieces at the end of the suite are different from those in the 1713 publication, but the last movement is very similar to the other movements, except for the introduction. this movement is followed by a courante, and a bourree, again likely coming from the same source.
sor experimented with different keys, such as d major, bb major, c major and a major. the suite espanola op. 47 in f major is the one that influenced me most and that i most wanted to emulate on the guitar. it was the only piece i could find in the entire corpus of sor´s music that came closest to my own attempts to write pieces for the guitar. the suite espanola in f major is written in ternary form. in classical guitar pedagogy, ternary form is used to describe a piece of music that is divided into three sections: a) the exposition (introduction), b) the development (statement of theme) and c) the recapitulation (reprise of the statement of theme). the exposition and recapitulation follow a common harmonic structure, which is in contrast with the development, where a new harmonic progression can be applied. the development section is usually the most difficult, since the piece must make the transition from the exposition to the recapitulation. the suite espanola in f major is written in ternary form, which is a very common style in baroque lute music. it is important to note that although this style is similar to the structure of a ternary form, the music is not strictly ternary. to make the transition from the exposition to the development, the piece uses a four-bar bass, which normally plays the tonic and the subdominant chord in the exposition, and then shifts to the tonic chord in the development, which is the recapitulation. this movement is repeated a second time, now using the tonic and subdominant chord from the development as the exposition. thus, the piece has two different harmonic structures, which are gradually transitioned to each other. this style is used in a number of other baroque lute suites, and some guitar suites as well. in contrast to the baroque lute, the guitar is a rather unique instrument with an intimate and direct relationship with the player. therefore, i decided to try to emulate this style on the guitar by creating a section of the development that sounded like a four-bar bass, but that instead of playing a bass line in a repeating harmonic sequence, it played guitar chords in a similar fashion.
so, in a nutshell, the development section is a modified four-bar bass. it starts with a low e major chord, which is the tonic of the exposition, and ends with a g major chord, which is the tonic of the development. the transition between them is achieved using a four-bar bass. therefore, i create the four-bar bass in the same keys that the bass line would be played in if it were a normal four-bar bass. the first two measures of the bass consist of a dotted sixteenth notes followed by a half note. this creates a slightly jagged sound, which is what the guitar naturally produces in the same keys. the three measures of the bass are followed by an eight-measure block of chords, which are played in a similar fashion to the standard four-bar bass. the first measure consists of four chords (g major, d major, g major and c major), followed by a new chord, the d minor, then a third chord in the d minor, and finally the tonic chord in the d major.
hey guys, suite espaola, op. 47 by isaac albeniz (1860-1909) is a suite for solo piano that is often arranged and performed on the classical guitar. actually, it is more often played on guitar than it is on piano. it is mainly composed of works written in 1886 which were grouped together in 1887. the pieces depict different regions and musical styles in spain. the original work consisted of four pieces: granada, catalua, sevilla and cuba. the editor hofmeister republished the suite espaola in 1912, after albnizs death, but added cdiz, asturias, aragn and castilla. the other pieces had been published in other editions and sometimes with different titles (asturias was originally the prelude from the suite chants despagne). from wikipedia : in these works the first title refers to the geographical region portrayed, and the title in parentheses is the musical form or dance from that region. from granada in andalusia there is a serenata, from catalonia a curranda or courante, from sevilla a sevillanas and from cuba (which was still part of spain in the 1880s) a notturno in the style of a habanera, from castile a seguidillas, from aragon a fantasia in the style of a jota, and from cadiz a saeta. this last example, like asturias (leyenda), is geographically inaccurate. in suite espaola, the first title regards the region and the second in brackets indicates the musical form of the dance of the region: granada (serenade); catalua (courante); sevilla (sevillanas); cdiz (cancin); asturias (leyenda); aragn (fantasa); castilla (seguidilla); cuba (nocturno).