Andrew Galliano, Senior Partner of Banco Galliano in Gibraltar in 1913, playing a Spanish guitar by Joséf Pagés.
By Unknown author - http://www.bonhams.com/cgi-bin/public.sh/pubweb/publicSite.r?sContinent=EUR&screen=lotdetailsNoFlash&iSaleItemNo=3834985&iSaleNo=16003&iSaleSectionNo=1, Public Domain, https://commons.wikimedia.org/w/index.php?curid=8203215 PD - US - expired
The Spanish Guitar William Gillock Grade 3 ABRSM 2023 – 2024
Character/story of the piece – the footnotes to the piece state ‘this piece imitates flamenco, a music and dance style from Andalusia in Southern Spain, in which the guitar plays an essential part’. Obviously, this is the starting point for the player’s interpretation of this piece as they will need to consider the instruments that are imitated in this piece as well as either the song or dance that the music is accompanying.
The flamenco is the music and dance of the Roma people. In flamenco music the acoustic guitar is played as well as castanets. Also, in flamenco music, there is singing, hand claps and heel stamps. The flamenco dance has no set tempo, it may have both fast and slow passages, rising to a climax at the end. The flamenco guitarist must be sensitive and knowledgeable; the player’s main function is to provide rhythmic foundation for the music. In the dance, the male dancers’ steps include intricate footwork and heel tapping whereas the female dancers are more expressive with movements of the hands and fingers, arms and upper torso.
In this piece, the heel taps, hand claps and/or the use of castanets could occur where there are accents marked in the music. In the single melodic lines of bars 3 and 4 for example, this could represent the female dancers’ use of her fingers and hands. There is a change of character in bar 10, and again the composer has been very helpful as he has marked in singing above the R.H. Perhaps the focus is on the male dancer in bars 1 – 3, for example and the focus is on the female dancer in bars 3 and 4.
Watching any suitable videos of the dance will clearly be useful and beneficial for the player.
Main part of the music – the composer has marked fortissimo at the start of bar 21. This is where the main part of the music should occur. The quietest area of the music should be near the end, prior to the final two chords. Considering the player will need to use a fortissimo dynamic at the beginning of bar 21 the player must be very careful in ensuring that the tone is not overly harsh or strident at this point.
Form – this music has a reasonably fluid form; it could be thought as being in ternary form. The first section covers bars 1 – 8, the second section bars 9 – 20 and the final section bars 21 – to the end. According to Wikipedia, the mode used in flamenco music is the Phrygian – in E there are no accidentals with the raised 3rd and 7th being written in as necessary with accidentals.
Phrasing – there are eight phrases in this piece; the phrases have differing lengths. Some phrases commence on the first beat of the bar whereas others start on other beats of the bar. Often, the ends of the phrases contain a fermata or tied notes.
Tempo, time signature and rhythmic patterns – the tempo of c66 dotted crotchet beats per minute is appropriate for the style and character for the piece. There are two time signatures used in this piece, firstly compound triple time, followed by compound duple time and finishing with a return to compound triple time. When using the metronome, an adjustment can be made – the player can work out where the bell will ring for 9/8 time in the 6/8 time section. The change of time signatures must be projected by the player as the listener must be aware that a change has been made. Subtly emphasising the first beat of the bar will be necessary. There are some rhythmic patterns in this piece that may be difficult for the player to execute. One of the rhythmic patterns that players will find tricky is the triplet semiquaver patterns. Constant practice with the metronome will be beneficial as well as working on being able to swap with ease between the two quaver patterns and the triplet semiquaver patterns. In the second section, the player may find it difficult to bring the R.H. in at the correct time. Let the L.H. set the beat, with the R.H. being co-ordinated with the L.H. The observance of the fermata could be problematic. Wherever these occur, the player should allow a little of the sound die away before commencing the next phrase. It is as if the dancers have taken a small break before continuing the dance,
By Pierre-Auguste Renoir - Self-photographed, Caroline Léna Becker, Public Domain, https://commons.wikimedia.org/w/index.php?curid=20283959
Touch/articulation – contrasting the touch in this piece will contribute to the character and style of this piece. In the opening phrase, for example, the player should use an energetic, slightly intense touch supported by a supple wrist and fluid arm. However, at the beginning of the second phrase in bars 3 and 4, the touch should be less energetic and intense with the fingers being played closer to the keys. A complete change of character is required at the beginning of the second section, here the arm, with weight from the shoulder should project a cantabile sound. The L.H. has different roles to play in this piece – a resonant sound when playing chords however changing to the same touch as the R.H. when playing with the R.H. as a single melodic line. During the second section the L.H repeated chords should be played without undue excessive lifting. The many lifts written in this piece must be strictly observed; these lifts highlight the accents or lightly accent the beginning of a melodic pattern. These lifts add flair and drama to the music. The composer has used accents in conjunction with staccato dots as well as accents on their own. In the final two bars there are staccato dots at the end of four four-note patterns. When playing these patterns, the player must stay in contact with the last note as much as possible as it is being lifted.
Balance between the hands – as with the touch, there is contrast required in the balance between the hands. Clearly the balance is to the R.H. in the opening phrase. At the start of the second phrase, the L.H. imitates the R.H., thus becoming an equal partner. During the second section the L.H. has a vital role to play with its repetitive chords that underpin the music.
Dynamics – in this piece the player can employ a wide range of dynamics from ppp to fortissimo. It would be advisable for the player to know these two levels of dynamics very well so that the other dynamics used in the piece can be graded accordingly. The composer has marked f subito at the beginning of bar 19. This may be difficult for some players to achieve, especially considering that there is a diminuendo in the previous bar. Tone-matching is an essential skill in this piece, particular care must be taken when playing the repeated accented and staccato chords. The dynamics should not be too loud at the beginning of the piece.
Agogic effects – apart from the use of the fermata in three instances there are no other agogic markings present in this music. Considering that the ends of some phrases have either fermatas or tied notes (which are a kind of rit in themselves), it would be advisable for the player to add no other rubato effects. The ABRSM Teaching notes do suggest that ‘a slight slowing down before the fermata’ is a stylish addition to the playing of the piece. Nevertheless, this must be varied otherwise it will become predictable. Does the length that these fermatas are observed increase as the piece progresses?
Considerations when playing this piece –
· There should be no perceptible tonal change when the hands are playing alternately in bars 3 and 4 and others.
· The player needs to ensure that the triplet semiquaver pattern does not ‘pop out’ of the melodic line. The player needs to ease back a little on the energy when playing these notes.
· A very dramatic piece.
· The hands are constantly changing position and format.
· The player must be able to play it exactly with the metronome so that when the fermatas are played, the player knows how much time is being added.
· There is a danger that the L.H. chords are not held for their full value.
· The body must move in the direction of the notes at the end of the piece.
· The player must consider how the character of the music changes when the compound duple time signature is used.
· The quaver rest after the feramtas must be felt; there needs to be a perceptible silence after the lifting of the notes of the fermata.
· In the first phrase there is not a lot going on melodically; the player must find areas to highlight so that the listener’s interest is maintained.
· The playing of the last two bars needs to be checked.
· The holding of the fermatas should differ.
· It is quite a difficult ending to execute.
· In bars 3 and 4 (and others) the player must provide momentum and precision to the single notes.
· There is a danger that this piece could be played too fast.
· In bar 9 a sense of calm and piece comes over the music.
· In bar 20 the player must look ahead for the quick hand position change.
· There is a melodic line in the R.H. to the L.H. from bars 8 – 9.
www.simple.wikipedia.org/wiki/Flamenco
www.kids.britannica.com/students/article/flamenco/323367
www.en.wikipedia.rog/wiki/Flamenco_mode