"There was in Valladolid in my youth, a vihuelist named Narvaez, of such extraordinary musical skill, that upon four parts in mensural music in a book, he improvised on the vihuela another four, a thing miraculous to those who did not understand music, and to those who understood it, most miraculous" Zapata de Chavez, 1592
Otras tres diferencias sobre 'Guardame las vacas', hechas por otra parte MP3
PDF Score: Full score
PDF Score: Tablature only
Much of the vihuela repertoire is so-called serious and abstract art music, but occasionally folk elements make a welcome appearance. The most popular chord structure for improvisations was the Romanesca - more on that when we come to look at Guardame Las Vacas below. Another great sequence was the Passacaglia. This was a descending chord sequence or bass line, over which the performer would improvise or construct variations or 'diferencias'.
Narvaez partly uses the passacaglia sequence in this piece, but sets it in a way which highlights the closeness between the passacaglia and the 'Andalusian Cadence' - which is usually Am/G/F/E, here transposed to D minor. Here is the chordal outline to these diferencias. Each chord is for three beats, except where indicated:
Dm ... C ... Bb (first inversion - D in the bass)... A
Dm ... C ... Gm (2) ... A (1) ... Dm ... Gm (2) ... A (1) ... Dm
Here is a basic (PDF) score for the above chord sequence, together with some of the added notes you might consider playing. If you want to learn this piece, I suggest you play this sequence 200 times a day before breakfast. My wife and daughter will tell you in no uncertain terms that this is what I did...
In my performance, I have tried to bring out the folk roots, one might even go as far to say the flamenco roots (there are a multitude of flamenco roots), by strumming the above chord sequence at the beginning and end. I think this highlights the ''variation without a theme'' structure of the piece. Hopefully it will bring to mind a 16th-century folk-influenced vihuelista just quietly improvising upon a well-known chord sequence.
When studying the score, imagine only one beat per bar, and think in phrases of three bars length. But be aware of sudden rhythmical displacements - a very Spanish trait - which Narvaez throws in. I have tried to bring them out in my performance. Have fun with this piece!
PDF score: Tablature only
PDF score: Full score
'Guardame las vacas' is a folk song constructed on a classic simple chord sequence known as the Romanesca. Probably the most famous song set to this sequence is 'Greensleeves', and it is fun to perform both 'Greensleeves' and 'Guardame' in sequence.
Here is the 'chorus' or B section of Greensleeves (two beats to each bar) :
C / G / Am / E/
C / G / Am (1 beat) E (one beat) / A
Try strumming that sequence with just one strum per bar (except for bar 7). Now, the big difference between it and Narvaez's version is the rhythm. Narvaez places the chords within a rhythmical structure which we may think of as being quintessentially Spanish. It is found in flamenco forms such as Bulerias and Soleares, and is an alternation of three beats and two beats. Tap the following rhythm on the downbeat (the ONE):
ONE two three ONE two three
ONE two ONE two ONE twoRepeat 1,000 times - no less! You might change bar 7 (remember Greensleeves?) to:
ONE two three one TWO three
So the entire rhythmical cycle goes like this:
ONE two three ONE two three
ONE two ONE two ONE two
ONE two three ONE two three
ONE two ONE two ONE two
ONE two three ONE two three
ONE two ONE two ONE two
ONE two three one TWO three
ONE two ONE two ONE twoNow strum the chords to this rhythm, placing accents on the ONE (as James Brown would say!). Now you are cooking! Just play the chords to this rhythm endlessly while dancing around the room - it really does help...
Finally, add the variations and notice how Narvaez's bass line and phrasing fits the rhythm beautifully. Ignore the barlines in the score - seldom has a piece of music suffered more from 'the tyranny of the barline'!
To be honest, I wish I could play this piece faster than I do on the recording. I hear in my head a 16th-century Paco de Lucia or Sabicas having great fun with these variations. But if articulated well, it doesn't have to be fast. On the recording (see above for link) I tap out the rhythm on the vihuela case. It is difficult but fun to try to keep the tapping going when you are playing the variations.
I'm not saying that this is THE way to play this piece, but I reserve the right to have fun with it. Enjoy and good luck!
PDF Score: Full score
PDF Score: Tablature only
A beautiful Villancico (village song - or vaudeville!) arranged by Narvaez. The chord change on beat three of bar three always catches my breath.
"Luis de Narvaez was such a famous musician, that he desrves to be (a servant) to the king Philip II, because the sweetness of his vihuela filled the king's soul with wonder as Timotheus filled Alexander's". Bermudez de Pedraza, 1608.
Fantasia del quarto tono (Book Two) MP3
PDF Score: Full score
PDF Score: Tablature only
My favourite Narvaez fantasia. The opening note rings like a church bell throughout the piece. The work seems quite sectional, and in my performance I like to give each section room to breathe. Switch the metronome off. In fact, just throw it away!
3 versions of Mille Regretz (Cancion del Emperador) MP3
Very possibly the jewel in the crown of Renaissance intabulations. The most perfect coming together of composer (Josquin) and instrumentalist (Narvaez). The most exquisite piece of music I have ever had the privilege to play. The Vihuela in G version was recorded during a recording session for something else. I just took the vihuela out of its case, played for a few moments, then recorded this piece from memory. I introduce it with the text from the original Josquin four-voice setting. All three vihuelas were made by Alexander Batov.