Adelita by Francisco Tarrega tab with free online tab player. One accurate version. Recommended by The Wall Street Journal. Tárrega, Francisco Adelita sheet music for Guitar – The Artist: Francisco Tárrega was born in Villa-real, Spain on November 21, He was one. Play Michael Chapdelaine’s Arrangements of Tárrega’s ‘Adelita’ and ‘Lagrima’. Blair Jackson August 11,

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As a side note, I believe notated guide finger lines to be superfluous; it suffices to see that two consecutive notes use the same finger number. At first, the primary change I made was to extend the slurs from the acciaccaturas [ 2 yarrega to the note following the acciaccatura forming a so-called reverse or inverted mordent.

Each voice, part, line is heard clearly and distinctly in it’s own tarreva space”. In the end, I abandoned my changes and decided to eliminate all acciaccaturas and trailing grace notes. Instead of acciaccaturas forming reverse mordents, I unambiguosly represent the notes with their actual values so there is no question that they are played on the same beat as the second voice bass note.

After much debate, I decided to make significant notational changes that do not change the meaning of the music, but make it easier for the contemporary player to understand.

Therefore, I recommend not trying to learn the piece until you’ve developed both comfort with barres and sufficient strength and flexibility in the little finger to play clear hammer-ons and pull-offs. I also replaced the trailing grace note portamento representations with a modern-day unslurred slide. Despite that possibility, I included garrega assuming they represented changes in dynamic intensity and added explicit intensity levels that were missing at the ends of the hairpins.


Adelita by Francisco Tárrega

By the 20th century, however, the notion of avoiding repeats had become widespread. One section is in a minor key, sounds very bittersweet and sadly dramatic. I believe these changes resulted in more compact, unambiguous, and easy to read music. This is more than just a theory; it becomes quite clear when you read the music as originally notated and compare it to later editions which mistakenly edit the original notation.

Adelita (Tárrega, Francisco)

I find it quite easy so far! Since the slides are not slurred, you strike the second note on arrival.

His music is very classical in nature because there is usually a clear melody supported by a bass line that creates traditional classical harmony, chord progression and voice leading. It’s easier for inexperienced players to grasp this when there’s one acciaccatura note, but it becomes fuzzy for them when there are two notes involved which can be confused for two sixteenth notes.

The first hairpin appears redundant to the un poco crescendo instruction. Although I have preserved the original D. If you have doubts about using my edition, please remember that my changes do not change the music as it sounds. The overall form of ‘Adelita’ is also typical of his small scale solo guitar pieces. Both notations produce the same sounding music, but mine should be easier to interpret correctly.

If they were slurred, you would not tarrefa the second note. Still, today the classical guitar world cannot bring itself to use the term slide and much confusion abounds regarding the difference between glissandosportamentosand finger shifts. aselita


I LOVE the forum, too. I almost left out the hairpins because their interpretation was not entirely clear.

Guitar Lessons: ‘Adelita’ Tarrega’s Composition Style

I’ve never been one to use forums, but the GT forum is full of great people and helpful information at ALL levels! This is contrasted with a section in a major key that is joyful sounding. An unslurred slide means you slide from the first note to the second and strike the second note upon arriving.

These are not guide finger indications. I prefer the acciaccatura notation because no one can or should play a 64th note exactly.

Even if you’ve addlita barres, upon reaching measures 11 and 12, you may reach an impasse. In this lesson I discuss aspects of Tarrega’s compositional style. In addition, there are usually three “voices” or “lines of music”. In contemporary guitar notation—at least in the arelita world—there should be no need for a trailing grace note when the grace note’s pitch is the same as that of the following note. You’re supposed to play the acciaccatura as part of the same beat as the second voice bass note, not ahead of it.