Analysis of Adelita by Tarrega

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darylallan
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Analysis of Adelita by Tarrega

Postby darylallan » Sat Jan 07, 2017 8:05 am

Hi all

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)

Structure
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.

Interpretation
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.

https://www.youtube.com/watch?v=7GzW9oeN88U

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.

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GJW
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Re: Analysis of Adelita by Tarrega

Postby GJW » Thu Jan 12, 2017 12:29 pm

darylallan wrote: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.


...what I call "hamming it up".... :)
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RobMacKillop
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Re: Analysis of Adelita by Tarrega

Postby RobMacKillop » Thu Jan 12, 2017 1:10 pm

Keep in mind that it is a mazurka of sorts, with the accent on the second beat - especially in the A section.

Also note that the melody notes on the second beat of the A section map out the V chord - B, F#, D#, B. This is a clever trick, in that we are thinking E minor, but the melody is outlining B Major. This creates tension, an emotional device.

igycrctl
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Re: Analysis of Adelita by Tarrega

Postby igycrctl » Thu Jan 12, 2017 4:21 pm

darylallan wrote:Structure
Basic ternary AABBA, in slow 3/4

You say it is ternary, but there are only two parts: A and B. Please explain why this is considered ternary. Thanks.

JohnB
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Re: Analysis of Adelita by Tarrega

Postby JohnB » Thu Jan 12, 2017 4:25 pm

igycrctl wrote:
darylallan wrote:Structure
Basic ternary AABBA, in slow 3/4

You say it is ternary, but there are only two parts: A and B. Please explain why this is considered ternary. Thanks.


My understanding is that:

Binary form: A-B (often with repeated sections)

Ternary form: A-B-A (often with repeated sections)
Hermanos Conde 1968, Stephen Frith 2007 "Guijoso"

darylallan
Posts: 14
Joined: Sun Nov 15, 2015 6:11 am
Location: Melbourne

Re: Analysis of Adelita by Tarrega

Postby darylallan » Sat Jan 14, 2017 1:13 am

RobMacKillop wrote:Keep in mind that it is a mazurka of sorts, with the accent on the second beat - especially in the A section.

Also note that the melody notes on the second beat of the A section map out the V chord - B, F#, D#, B. This is a clever trick, in that we are thinking E minor, but the melody is outlining B Major. This creates tension, an emotional device.

Great point didn't pick up on that.

Also John Hall has a great analysis where he talks about Italian 6 chords.
http://www.johnhallguitar.com/blog/lgrimaadelita_trrega___an_analysis/

GJW wrote:
darylallan wrote: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.


...what I call "hamming it up".... :)


I wish I could ham it up like that :(

Ternary or Binary?
I thought ternary because structure is AA-BB-A, really reduced to ABA

Also many binary pieces have the following harmony.
A: I > V
B: V > I
So the sections balance each other and the whole piece starts on the tonic moves to V and returns to the tonic

Adelita does the following
A: i > V7 > i
B: I > V7 > I
Each section is self contained and resolves by itself.

That's my spin on it and I'm happy to be corrected. :)

Hang on! :oops:
Currently reading an article by D. F. Savarese that claims our modern publications on Adelita are all wrong and that the structure is in fact AABBAB

https://www.savarese.org/music/Adelita.html

Savarese has attached a PDF of how he believes Tarrega intented the music to be played.

https://www.savarese.org/downloads/sheetmusic/Adelita.pdf


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