Recuerdos de la Alhambra

[ald]

I don't know if anybody is familiar with Evan Marshall's version of Recuerdo de La Alhambra. I've been picking this is up by ear from the recording. But I've run into a problem. He plays a section d minor, repeats it, than does another section in d major repeated. The original version is in a minor and a major (see http://www.eythorsson.com/music/1027.pdf). If you look at bars five and six when he changes to D major (sorry, he changes to A major but I'm using the guitar music to illustrate what I mean) you will see he slides up from f sharp to d, while keeping the tremelo going. It doesn't sound like he sticks to the script in his version (omits a tremelo?). But if anybody has a better ear than mine and can figure how he slides up and down, in fact what he is actually doing there, I would be glad to hear from him or her. Otherwise the music sheet I indicated should be quite useful for anyone who fancies playing this tune (converting from a to d), which is not to hard to play (well it is at Evan Marshall's speed but even at a slower speed, it is a pleasant tune to perform).

ald

[Bruce Clausen]

I haven't heard the Evan Marshall recording, but after reading your question I've played the piece through in d minor/D major and I think I see where the problem comes. #On guitar the slide from f# to high d (in the guitar key) can be done without interrupting the tremolo melody, as the moving middle part can be played on inside strings. #On mandolin, this would require playing a high E on the A strings (19th fret) under the tremolo high G. #This is hard enough, but much harder if you're also trying to sustain the bass D, which ideally should be an open string. #So I've been playing open D in the bass, and putting the middle part on the top two strings. #This causes a slight interruption in the tremolo on high G, as you must strike a high E (12th fret) on the beat, then resume the tremolo on G (15th fret); #the middle part E is then very brief, instead of sustained like the other notes in that part. #Does this sound like what EM does? #--BC

[Jim Garber]

I don't have EM's version handy but it is very common on mandolin with a plectrum played duo style to have smaill interruptions in the tremelo. It is sort of an auditory illusion that the tremelo continues nonstop but it really can't unless the instrument is played with the fingers.

Jim

[Martin Jonas]

It's a lovely tune to play in an ensemble, too -- we have a nice quartet arrangement.

Martin

[Bruce Clausen]

In tremolo pieces for guitar, the lower parts are usually sustained melodies or arpeggios; the tremolo above is normally 'interrupted' in the sense that the top part is not struck on the beat. For example, thumb plays in continuous eighth notes, the three fingers (usually a-m-i) catch the three remaining thirty-seconds. In slower tempos, the tremolo figure can be in quintuplets (frequent in flamenco) or sextuplets. The illusion of a continuous tremolo depends on the last tremolo thirty-second (or whatever) sustaining through the next thumb note. The problem here in Recuerdos seems to be that at one point this sustaining of the last tremolo note isn't feasible. Does anyone have Evan Marshall's recording handy? --BC

[Eugene]

I began transcribing it, mostly as a joke because guitarists are a bit weary of the piece's abuse. I gave up in short order, but it was going very easily in g minor. If I find the time to go after it again, I'll let you know how it goes. I know Mr. Marshall recorded it, but have only heard his transcription in passing.

[ald]

Bruce, thanks for taking all that trouble.

As far as I can hear (and my ear isn't the most reliable instrument in the world) Evan slides down and then plays the bass D, tremelo on 1st string / 15 fret, 2 /14, 1/15, 2/19, 1/15 (1/15 is always the tremelo). Then slides back down again. I'm struggling to slide back down and keep the time (plus I'm not yet playing up to speed). Otherwise the tune is not that hard (I know I'm not up to speed yet) to play, except for the hammer ons and offs (excuse my unsophisticated technical vocabulary, I confess I'm a rank amateur), which do throw me off a bit.


ALD

[Bruce Clausen]

ALD-- This is fun. So Evan actually keeps the inside part on the inside strings, which involves E at the 19th fret-- this needs very neat fingerwork and a very fine instrument. Is it possible that where you've written 2/14 above, Evan actually plays 2/10? This would give the expected note G, but the B at 14 is an OK substitute if the idea is to avoid a difficult stretch. I find I can just barely reach and get the exact notes (i.e. Tarrega's notes transposed) by keeping my third finger on the tremolo melody. First chord is open D then 1/7, 2/2, 1/7, 2/10, 1/7, 2/2, 1/7, 2/10, 1/7, 2/2, 1/7 (all without moving left hand). Then slide up and play open D then 1/15, 2/10, 1/15, 2/19, 1/15 (again without moving), and slide down to the first chord position again (2/10, 1/7, 2/2, 1/7). This way the bass is always open, a real slide can be done, and the tremolo is uninterrupted. But it's hard. --BC