For what it is worth I created an analysis of Tarrega's Adelita to get my head around this charming piece. Later I want to examine difference fingering and interpretation.
Adelita by Franciso Tarrega. (Working from score in Guitar: Music from the Student Repertoire (1974), John Mills, page 27)
Basic ternary AABBA, in slow 3/4 (
The A section starts in E minor and there is only one chord per bar.
i > iv > V > V7 > iv > V7 to I cadence, then repeats.
Rhythm places stress on second beat which usually harmonizes either the 5th or 7th of the chord. This gives the effect of piece sounding stilted.
B section is in E major.
Rhythm completely changed now to “1,2+3+” which gives the piece more momentum.
Harmonic changes are also accelerated with two chords per bar, the first chord on the first beat and a chord change on the third beat.
I > IV, I>IV, I>ii7#, V7, I>IV, I>ivo*, V7, I
# The ii7 (f minor last inversion) is used to “tonicize” the V7 however the A# of the ii7 is missing so there is no A# to B progression, i.e. no leading tone.
*The most interesting chord is on the third beat of the third last bar. I believe it’s a ii0 in last inversion, A# diminished, a chord not present in E major but the vii0 chord of B major, so the implied progress in B major is V7 > vii0 > I7. However I7 (in B major) the second last chord is V7 in E major. So the section ends with a perfect cadence complete with a lead tone to tonic in the top voice and a V to I in the bass.
Steve Biasini on a Youtube comment posts a warning about this piece.
The temptation to over play this song is a challenge for every guitarist. Pretty, technically powerful, but just too much work. The tune gets lost along the way.
It also seems that to play it too slow and the first section will sound stilted and awkward. My guitar teacher made me listen to an LP of Bream playing this. Wow! Brilliant but I'm not Bream. I think the version I heard can be found here.
What I like about this interpretation is that every note is considered. The harmony can clearly be heard but it doesn't get in the way of the tune. He seems to do this by having one timbre/tone palette for the melody and another for harmony as well as pushing the tempo and dynamics around. He also seems to slow down and highlight the most significant harmonic tensions and resolve them beautifully.