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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Terribly astylistic to do this, but yuardame audiences are not so vacax with 16th century compositional practices and it usually doesn’t make a fuss with them. Is it possible that Narvaez simply felt that the otra part sounds considerably better in the key he chose for it and that the first four variations sound better in the key he chose it them, and so he opted to simply let them be performed back to back in different keys? Lute- vihuela knowledge is pretty easy to get to today because in the last 20 years there has been a lot of research published about music in the times of the lute.
Roman numerals in parentheses are not original and are provided for convenience only.
A New Approach to Guardame las vacas? – Classical Guitar
Rob MacKillop has a nice Guard my Cows on his website video section. A villancico literally being peasant music, it’s quite possible the bass part was commonly played by strumming chords while the words were sung to the descant. Of course somewhere there is probably some dreary earnest version about a poor boy actually herding some prosaic old milk cows.
He is also notable for being the earliest composer for vihuela to adapt the contemporary Italian style of lute music.
Secondly these days I perform the piece on a vihuela which incidentally I will do in a concert in a few hours.
Over time we’ve come to associate the piece with the bass part only, which in A minor would be: Translates something like this; Keep the cows for me darling boy, and I will kiss you; or you kiss me and I will save the cows for you So the meanings are rife with coquettish teases as well as male sexual bravado. From Wikipedia, the free encyclopedia. Despite being in different keys, it is the descant that connects the two sets of variations.
I have several arrangements of this piece, and I found it puzzling that some arrangers and performers include anywhere from one to three extra variations beyond the four that I learned when I started playing guitar using Frederick Noad’s books.
The new version matches more closely the original vihuela tablature by playing the measure in first position. What I’ve learned is gyardame Narvaez wrote two sets of variations, the one with four, that everyone plays, and then another, guardamr otra parte, with three more in a different key. A New Approach to Guardame las vacas? 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.
Guárdame las vacas (Otras tres diferencias) by Luys de Narváez
Each should be treated as a separate set of variations and not as part of a single combined piece. Variation 1 of otra parte somewhat pensive, more lyrical statement 3.
In the process of retranscribing and renotating the piece using LilyPond, I made some changes to fingering. He translated Latin poems into the Spanish of his day so he was a conduit for all kinds of ancient Spanish Roman themes and poems. They are characterized by smooth, competent imitative writing in two and three voices. Although still a transcription and arrangement for the guitar and not a literal vihuela tablature transcription, this version should be more readable and somewhat truer to the original vihuela tablature.
Diaz takes all three variations from the otra parte and places them in the middle of the first set, again transposed to A minor, which seems to work even better than Segovia’s approach, because it gives the guitarist the opportunity to perform all seven variations as a satisfying whole in a way that makes musical sense.
Variation 3 of otra parte somewhat pensive, more lyrical statement 7. Or bed them while the king if off doing kingly duties? This version turns the whole thing around as it is spoken in a woman voice: This way they could learn Narvaez “best of”-improvisations.
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.
The original right-hand fingering was rather unnatural. If you can play Message in a Bottleyou shouldn’t have a problem with the fingering. There are probably ,as links going way back to Troubadour poetry of the middle ages, those kinds of themes are common in the sung a spoken to music prose poems of the Troubadours.
I vacad 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.
Thirdly I don’t think they guardaame belong nor work together. Variation 1 of first 4 strong statement 2. Changed last D in first voice of measure 8 to use finger fuardame. Julian Bream rectified this trend by recording the two sets of variations separately, albeit on the lute.
You can over think this stuff, probably not a good idea. 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.
Actively Maintained LilyPond Output. Later revisions may correct discovered errors, change fingering, and add guitar-specific legato where appropriate. Board index All times are UTC. I can’t be the only person who’s ever thought of this, yet apparently I’m the only one gkardame it!
I’m glad to see that I’m not the first to consider playing Guardame as a sort of musical conversation, and that someone else has not only considered it, but actually done it that way.
The remaining music comprises villancicos, romances, and a Baxa de contrapunto. The scores published were not meant for professionals and for public performance – the intended audience was the ignorant amateurs who could not guarame. Art should be mostly a bit naughty and transgressive, not clean. Updated fingering and added guitar-specific legato. I read a nice article in Soundboard by Nelson Amos Vol. The second of the two songs is wrongly attributed to Gombert, it is a work of Jean Courtois.
I can sympathize with Nelson Amos’s pet peeve a little taking liberties with this historically important piecebut a it really is musically unsatisfactory, to my ears at least, to perform the otra parte after the first set of variations, yet b vaccas otra parte is beautiful and really enhances the attractiveness of the work.
Oh today we vaxas a hard time with the off feminist title and intent of the song, but it is what it is. So, for me, the otra parte guardsme be performed, but in a way that makes musical sense.