Recuerdos de la Alhambra is the classical guitar world’s Stairway to Heaven. It is perhaps the most played solo in the guitar repertoire. Francisco Tárrega. View credits, reviews, tracks and shop for the CD release of Recuerdos De La Alhambra on Discogs. Strings By Mail Francisco Tarrega | Recuerdos de la Alhambra for 2 guitars – Composer: Francisco Tarrega Arranged by: Michael Erni Model: DZ

Author: Meztim Shara
Country: Zimbabwe
Language: English (Spanish)
Genre: Finance
Published (Last): 4 January 2014
Pages: 235
PDF File Size: 4.25 Mb
ePub File Size: 2.30 Mb
ISBN: 735-5-72149-811-4
Downloads: 45015
Price: Free* [*Free Regsitration Required]
Uploader: Faulkis

Recuerdos de la Alhambra is, really, almost the standard guitar piece. It’s a great piece of music. Recuerdos de la Alhambra is the classical guitar world’s Stairway to Heaven. It is perhaps the most played solo in the guitar repertoire. You will tarregga hear it performed in a shortened form using an AABBC structure, either because of time constraints associated with the performance or to avoid boring the audience or more likely, the guitarist.

Before attempting to play the piece, you should already possess a well-practiced tremolo. Don’t try to learn Recuerdos de la Alhambra as a means of learning tremolo technique and don’t attempt to play it before you’re ready. Scott Tennant told a story about making the mistake of agreeing to teach Recuerdos to a student before the student was ready.

Recuerdos de la Alhambra (Tárrega, Francisco)

You have to be aware of your abilities as a guitarist and recognize what skills you have to develop further before attempting a new challenge. I also suggest making sure alhanbra use a relatively new set of strings before learning the song.


Dead strings will kill your tremolo. Finally, make sure your nails are at whatever the right length is for you.

Nails that are too short or too long will interfere with a steady tremolo. I say these things because I’ve made the mistake of trying to play Recuerdos with dead strings as well as too short or too long nails.

Recuerdos de la Alhambra – Wikipedia

I’ve taken the unusual approach of trying to capture note durations accurately. In the time the song was composed, guitar notation was often imprecise, requiring the guitarist to infer when a note was meant to sound longer than notated.

For example, you’ll often see the second voice in Recuerdos notated entirely as eighth notes. If you actually play it that way, it doesn’t sound as full.

Recuerdos de la Alhambra by Francisco Tárrega –

Instead, I’ve indicated recufrdos much as possible via a third voice when the second voice note should sound longer. Also, I’ve notated the tremolo more accurately.

Tremolos are usually written as a sequence of 16th or 32nd notes, when in actuality the last note in the three-note sequence often has twice the value. This becomes obvious when you enter a traditionally notated tremolo into a MIDI program and play tarrrega back. The computer will precisely play the notes for the exact duration and invariably it won’t sound right.

After you lengthen the trailing tremolo notes that sound longer in reality, the computer playback sounds natural. I don’t find the attempt at greater notational accuracy has made the score less readable.

Recuerdos de La Alhambra

To avoid a non-interpretive pause when shifting your left hand from the A chord in the ninth position at the end of measure 13 to the inverted A7 chord in the seventh position at the beginning of measure 14, keep finger 2 on the second string as you move it from the tenth fret to the eighth fret.


As recuerdoss strike the Aplace finger 4 on the E on the third string.

The key to avoiding non-interpretive pauses when facing awkward position changes is to move your fingers into place as you are playing instead of pre-positioning all the fingers before you play the first note. Changed end ritardando and dynamics in final measures to match those in the Idelfonso Alier edition. Changed measures 15 and 16 to use first position for D minor. The change allows the open D to sound for the entire duration of measure 15 and places the left hand in position ed measures 17 and Removed half-barre from measures 38—39 and changed fingering accordingly.

Measures 38—42 are recuerdso same as measures 46—50 and may as well be played the same for mnemonic facility. There’s no reason to continue the half-barre from measure 35 when you can position your tarega where they’ll need to be for measure The Seville Concert and the Film Profile The name is Concha in Castilian.