The Repertoire Trinity: Nationalism, the Baroque, and the Sacred
For a classical guitarist, performing Asturias, Bach, and La Catedral is akin to an actor taking on Shakespeare. Each work requires a different “mask”: Spanish fire, German divine logic, and Latin American mysticism.
1. Asturias (Leyenda) – Isaac Albéniz: The Piano That Became a Guitar
Originally written for piano in 1892, Asturias has never sounded more “at home” than on six strings. Although a pianist, Albéniz composed with the flamenco guitar of his homeland in mind.
The Pedal Note Technique (The Obsessive Engine)
Section A of Asturias is a study in endurance and dynamic control.
- The Pivot Note: The thumb (p) plays a melody on the bass strings, while the index (i) or middle (m) finger incessantly repeats the note E (open 1st string).
- The Physical Challenge: The secret is not raw speed, but evenness. The repeated “E” must be a constant whisper—a sonic carpet—while the bass melody is projected with firm attacks. If the pedal note is too loud, the music becomes muddy noise.
- Phrygian Harmony: The piece utilizes the Andalusian Cadence. Feel the tension as the F Major chord resolves to E Major—the pure sound of Moorish Spain.
Section B: The Cante Jondo
In the middle of the piece, the frenetic rhythm stops. We enter a melancholic recitative. Here, we apply what we learned from Tárrega (Lesson 7): deep vibrato, portamentos, and a “floating” tempo (rubato), imitating the dramatic song of the Andalusian gypsies.
2. J.S. Bach: The Order of the Universe on Six Strings
Bach (1685–1750) is the oxygen of the classical musician. Playing Bach on the guitar is an exercise in intellectual transcription, as the instrument must simulate the polyphony he wrote for organs or bowed instruments.The Challenge of the Cello Suites
Bach’s Suites are collections of Baroque dances. When transcribing them for guitar, we face the problem of implied harmony.
- Adding Basses: The cello plays only one note at a time but suggests chords. On the guitar, we have the freedom (and responsibility) to add bass notes on the open strings (E, A, D) to fill the harmonic void, creating a richer, more solemn sound.
- The Prelude to Suite No. 1 (BWV 1007): This piece is a seamless flow of sixteenth notes. The secret is finding the harmonic “points of rest.” Every measure outlines a chord; the guitarist must articulate the notes so the listener perceives the “hidden melody” at the top of each arpeggio.
3. La Catedral – Agustín Barrios: The Bach of the Jungles
Agustín Barrios “Mangoré,” the Paraguayan genius, was the first to bridge Bach’s structure with Latin American sentimentalism. La Catedral is his opus magnum.
- I. Preludio Saudade: Written years after the other movements, this is a reflection on distance and loss. It features extended arpeggios and demands the Classical Vibrato (Lesson 5) to shape every note with care.
- II. Andante Religioso: Barrios described this as the feeling of entering the Cathedral of Montevideo. The guitar must sound like a pipe organ with a deep, simultaneous attack and rigid counterpoint.
- III. Allegro Solemne: This is the technical tour de force representing the bustle of the street. It involves high-speed arpeggios (p-i-m-a) and acrobatic position shifts, using chromatic harmonies (Lesson 10) to create a sense of urgency.
4. How to Study These “Warhorses”
Attempting to play these works all at once is an invitation to frustration. Use a fragmentation strategy:
- Isolate the Difficulty: In Asturias, practice only the thumb for 5 minutes, then only the finger playing the pedal note. Only then combine them.
- Harmonic Analysis: Before playing Bach, identify which chords he is “spelling out.” This helps your muscle memory “group” notes into familiar chord shapes.
- Endurance in Barrios: The Allegro Solemne tires the left hand due to constant barré chords. Practice in short 10-minute bursts, focusing on thumb relaxation (Lesson 1).
Summary
This exploration of the three pillars of classical guitar highlights how each work demands distinct competencies: Albéniz’s Nationalism
evokes the flamenco spirit through pedal notes; Bach’s transcriptions
challenge the player with voice leading and Baroque rigor; and Barrios’s La Catedral
blends contrapuntal heritage with Romantic virtuosity.
Try This
To understand the magnitude of these works, do the following:
- Listen to Asturias in its original piano version (Alicia de Larrocha is a great reference). Note the percussive nature of the piano.
- Listen to the same piece on guitar (Andrés Segovia or John Williams). Notice how the guitar brings a “mystery” and a flamenco “grit” that the piano cannot reach.