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Originally this was composed for Spanish Guitar with Castanets accompaniment. Receiving feedback from a CF expert (i.e. Socrates) it seems that the guitarist would have to grow another couple of fingers or so to play it. So here it is for piano - it's clearly supposed to have a very Spanish feel about it, hence the complex rhythms and choice of harmonic structure - can anyone make any recommendations as to how it might be orchestrated? Maybe it sits OK as it is - or it could be arranged for two or more guitarists or solo violin with lower strings accompaniment or whatever.

Comments, criticisms, advice - all would be welcome.

Many thanks for taking the time out to listen.

Adios! La Alcaidesa

Adios%21%20La%20Alcaidesa%20Piano%20-%20Piano.pdf 

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Bob, my entire image of you is shattered. Actually, I've always thought it is largely irrelevant which way you play it. Any which way but loose, as the saying goes. I mean, you still need both hands.

As for my harp parts, well, 50 years from now I'll be dead, or at the extreme upper limit of human longevity.

Stephen, I wanted to add that the triplets I found excessive, probably wouldn't be on the guitar, so temper my remark accordingly.

Hi Stephen, I like what you have written here. It does have a flamenco/Spanish classical guitar flavor which is appealing and well written so you have achieved your goal I believe. I think piano is fine for this, there are certainly examples from the literature.

I studied classical guitar for a few years and then became interested in jazz and popular styles so I don't maintain a classical repertoire (or technique) anymore. I haven't posted examples of my playing on CF because of copyright issues with my recorded pieces. (They are my arrangements of material written by others.) 

When I look at your score I think, "Oh this is playable, I can even sight read some of it." Then I remember that this is concert pitch and so when transposed some of it will get shoved up to the cramped space above the 12th fret where everything is treacherously difficult.   And then there is the range issue, our 3 - 1/2 octave guitar range is missing some notes on both ends so even with two normal guitars there would be issues with that. So a guitar arrangement would have to make some changes. 

You might add some strum (broken chord/arpeggio) markings to your chords here and there. Guitarists love that stuff!

Nice work here. I guess any comments on augmentation would be only opinions and subjective. I feel like I say that a lot lol.

 If you really want guitar I suggest something very simple. Make it a duet.

Thanks Timothy for your useful comments. I suggested earlier that maybe it could be adapted for two guitars in order to simplify the performance of the piece. But, as has also been noted, some of the notes are outside the range of the Flamenco Guitar (tuned strings being E A D G B E) so having two of them wouldn't help in this instance.

I think as this was only a one-off composition for friends (of many nationalities) in Spain it would be pointless my rearranging the piece to make it playable on the guitar (altering the range, the key, the notations etc.) so will settle for it being performed on the piano. Of course if it were my intention to write more for the guitar I would spend a couple of months carefully studying the instrument.

Timothy Smith said:

Nice work here. I guess any comments on augmentation would be only opinions and subjective. I feel like I say that a lot lol.

 If you really want guitar I suggest something very simple. Make it a duet.

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