REQUERDOS DE LA ALHAMBRA

BY FRANCISCO TARREGA

THE IMPACT OF MUSICAL EXPRESSION ON THE

TRANSFORMATION OF THREE FINGERS TREMOLO
TECHNIQUE INTO TWO FINGERS

Herry Rizal djahwasi

FMSP- UPSI
herry@fmsp.upsi.edu.my

PERFORMANCES CREATIVE WORK

 Abstract

Requerdos de la Alhambra by Francisco Tarrega is not the only classical

guitar repertoire that exposed tremolo technique. Songs that also
exposed tremolo technique such as, Campanas de al Alba by Eduardo
Sainz de Lamaza, Una limunista por amor de dios by A. Barrios.
.
The instruction given by Tarrega on Alhambra is the tremolo using
three fingers technique, the presence of Ana Vidovic which is an
international classical guitar performer who changed the form of tremolo
from three- fingers formation to tremolo two- fingers formation has
created controversy among classical guitar pedagogy.
This musical expression analysis will focus on two different techniques .

The element of musical expression will be studied included :

-Tempo
-Articulation
-Dynamic and
-Tone color

The specific objectives of this research will act as a guidance in understanding musical
expression on changes of the techniques.

keyword : Requerdos de la Alhambra between tradition and perception

 Problem statement and research motivation
1. Francisco Tárrega’s Recuerdos de la Alhambra is arguably the most iconic composition in the
classical guitar’s solo repertoire—it’s a piece nearly every guitarist aspires to play.
http://classicalguitarmagazine.com/method-breaking-down-the-challenges-of-tarregas-most-
famous-piece-recuerdos-de-la-alhambra /
2. The previous focus of discussion on Tarrega's Recuerdos alhambra only revolves around the
technical and musical structure, there must be a musical analysis that explains the existence of
tremolo in this song and its relation to musical expression.

3. The standard three-finger tremolo formation requires consistency of structured training. The
choice of forming a two-finger tremolo with consideration to the efficiency of the exercise, it
have a significant impact on musical expression.
critical questions to be addressed in this performances include:

1. Is the specific objectives of using the tremolo technique in the requerdos alhambra by Tarrega
based on musical structure ?

2. Is that objective related to music expression?

3. Is the tremolo technique can only be played with a three-finger formation?

4. Is there any differences between a three-finger and two-finger tremolo technique in a musical
expression approach?

All matters relating to discussion of research questions will be explained in based on practice.
We need practical explanation because some matters are related to techniques, this method is
built on practice

As in other art forms, there is no single ideal interpretation for a given musical piece; every
performance involves some kind of interpretation or analysis (Cone 1968, Levy 1995, Meyer
1973).
 Discussion

Is the specific objectives of using the tremolo technique in the requerdos alhambra
by Tarrega based on musical structure ?

- Research on music performance typically focuses on expression arising from a performer's

emphasis of musical structure as specified in a compositional score. Compositional scores,
including original manuscripts ( autographs) and edited versions, can offer insight into the
possible intentions of composers.( Caroline Palmer,Music Performance,annu.rev.
psychol.1997.48:115-38).

Musical structure is hierarchical structure in which is music organized. Alan Berklin

conceptualizes music hierarchies philosophically based on the foreground and background. This
classification makes it easy to identify the sound structure of the composition excluding
polyphonic compositions.
-Formal term or texture on the Alhambra is homophonic. Melody and accompaniment movements
are played separately. the melody that falls on a strong beat is always in the chordal tone. If we
analyze motive of the song , it will be obvious that the motive movement is dominated by a
sequence technique with tonal and modals adjustment or in a modern theory composition known
as the restatement transpose method.

-Scores clearly indicate that the initial composition was built in a long tone where the area of
movement of the melody corresponds to changes in the chord accompaniment. There needs to be
special treatment of the melody so that the area of the melody area becomes wider. Classical guitar
instrument has a weakness in executing long notes

-The tremolo itself is often analogous to whispering or vibration without changing pitch. The
application of the tremolo technique on the requrdos alhambra can be classified as a sound
sensation or sound effect. The reason for using the tremolo on the alhambra song is to overcome
the limitations of classical guitar instruments in executing long tones.
The classical composition theory have different approach to determine definition and structure.
On Requerdos Alhambra Typology bar 1-4 known as antecedent phrase cause terminate with the
perfect cadence at the end of bar 4, next bar 5-8 called as phrase antecedent consequent phrase.
this theory introduce by Leonard Bernstein. In Bernstein’s terminology, the consequent phrase
is the inevitable conclusion of the antecedent phrase. The two phrases, antecedent and
consequent, are drawn together in our perception of them because of their identical rhythms.
The bar 9-12, bar 13-16, and 17-20 phrasing formed by sequence.

Even having a different approach to identification of the two theories above classifies melodic
movements as having patterns or gestures. Gestures are very similar to phrases or note grouping.
gesture in the requerdos alhambra built on long notes. Logically it is impossible to build pattern
with repetitive motive or tremolo.
Is the objective related to the music expression?

In musical terms, expression consists of tempo, dynamic, articulation and timbre or tone.
systematic patterns of expression result from transformations of the performer’s internal
representation of musical structure. Expression is concerned with the deliberate manipulation of
timing, dynamics, and intonation for intentional effects that are usually related to the musical
structure (Davidson, Howe, & Sloboda 1997 in North & Hargreaves)

John Patykula is the Assistant Chair and Head of the Guitar Program in the Department of
Music at Virginia Commonwealth University.
http://www.guitarramagazine.com/goodtremolo

The tremolo is one of the most beautiful techniques of the classical guitar. The tremolo gives the
impression of a sustained, shimmering note - a continuous thread of pure sound. It is a delicate
effect that still mesmerizes audiences, especially when a jewel like Francisco Tàrrega's Recuerdos
de la Alhambra is performed.
Is the tremolo technique can only be played with a three-finger
formation?

There is considerable evidence that practice plays a crucial role in the acquisition of expertise on
a musical instrument (Ericsson et al., 1993; Sloboda et al., 1996; Sosniak, 1990), although there
is considerable debate regarding the degree of importance (Hallam, 1998a; Sloboda and Howe,
1991).

My practice based on research playing a three-finger tremolo formation found requires a

structured training stage. In one count there are 8 tones, in one bar there are 24 tones. The entire
range including repetition of the requrdos alhambra has 93 bars, clearly requiring an effective
and efficient technical approach.

Posture, control and coordination of finger movements must be organized solidly on the
formation of a three-finger tremolo formation. This is because the movement area of each finger
is very narrow. The consistency of tempo and sound quality on the tremolo can be maintained if
finger movements are carried out simultaneously.

Given that expressive musical performance is the long-term goal of all instrumental work, it
seems surprising that the technical focus of standard practice behavior has not previously been
questioned (Davidson et al. 2001).
Is there any differences between a three-finger and two-finger tremolo
technique in a musical expression approach?

In the psychology literature, the terms ‘interpretation’ and ‘expression’ are frequently defined as
‘deviations from the score’ (Gabrielsson 1987).

Technically, the three finger tremolo formation in this case starts from the weakest finger so
that the sound effects produced tend to strengthen. while the two-finger tremolo starting from i
or m has balanced strength so that the sound quality produced is more evenly distributed.
The three finger tremolo has a faster tempo because the intensity of the sound is not balanced,
while the formation of the tempo of the two fingers tremolo is slower because the sound
intensity is more balanced.

Two finger tremolo dynamics are wider because finger movements are wider, while three-
finger tremolo is narrower.

Timbre in two-finger tremolo produces thicker sound due to more independent flexibility and
finger strength but the vibration effect is not very pronounced. while the timbre on the three-
finger tremolo is thinner but the vibration effect is more pronounced.
Type Two finger formations Three finger formations

Tempo Slower Faster

Dynamics Wider Narrower

Articulations the tremolo effect on the tremolo effect on the

the melody sounds melody sounds like
like a repetitive motif vibrating

Timbre or tone color Thicker sound Thinner sound

 Musical
structure

Technique

Music
expression
 CONCLUSION

On the art philosophy, interpretation can be defined from intrinsic aspect and
extrinsic aspect. Analysis from the intrinsic aspect on the music is referring to the
theory or musical structure, technique and music expression. In relation of aesthetic,
instrumentation technique is not only to confirm the score but it’s also related with
the actual expression on the music itself. The concepts of expression need an
interpretation from the intrinsic aspect and extrinsic aspect.

The technique analysis of the tremolo from Alhambra, that the actual concept of
our research is focus more on the implication from the expression aspect of the
music. Basic idea of Alhambra can be seen on the long notation. Based on the
analysis of musical structure it’s obviously seen that conjunct melody contour is very
dominant on the melody movement, processing motive, and phrasing, by using the
restatement modulation method. Tremolo technique is also able to conquer the
limitation of guitar on handling long notation.

The implication is the melody movements (foreground) become sustained, so

it’s more melodious it’s because of the repetitive effect of the tremolo technique.