KL. ESTILO CASTELLANO Y BL ESTILO CATALAN: AN INTRODUCTION TO SPANISH GUITAR ‘CHORD NOTATION IM. JUNE YAKELEY AND MONICA ALL ‘Re aan la apa oft a the i whi al {ive creep pi rts sol Enon ht Spal hd som naaons far srmmed pitar muse and tha these ae widely used in Spasish sures. “There were to quite separate and ditne ystems of notation, wich are ‘referred fon some eighleeah century soutces 25 etl ustellan aes olan.‘ vn use aly in Castiian aad Latin American sees al il iter in Canam sarees The lect the sop refonal emis ofthese eens during ths prio, and in paricular the derence of lagu, Catalan waste oficial language of Catalunya until 1714 and cominued tote eed in ecclesiastical docu unl he cl of Us centers Allen au in bot sate more loch sme ethos he iam aloe, ‘ho nition n each ese consists of Arabic umerals and ther symbols att than eters ofthe aphate Tr somplex reasoas vey lille music was punted an Span dig the seventecals aud arly wightsth century. Mack, wever, sarives ‘nner and ne mare fH Rosomes neces, imporant oe “Understanding of specigealy Spanish notations ‘Decause the chord symbole superficially resemble those wed for figuied bass lines, they have wot always been coal sdealitial preseuce of sic uation idistes te ieporannt pacianthepuin®RAA ‘im accompanying instrament in Spain during te period in question, “The moat Catalan cifras Calan cifras were the brainchild ofan Cares Amat, a Catalan physician aod writer (1572-1042), Atal lat sud a pouunet plac inte stay of {he git because hie tare expat mre toe theses a= ‘tor forthe eecporee poe, and Ke eve etching atrations have ‘might the popula imagination, The significance ofits contents has, howeves, the strummed sive of pling it mer well esublished by the end ofthe oath cesar Amat nation ithe moet logical of ll guitar chord notations. The chord sve ranged na cocle of Geli MKS ume 113, 0 Reno ‘hor, bfor minor chords. Besus [:Ama's sequence of chords et? ‘As wel a dseiing he chords a bow they ate gered, Amat inte & ‘chapter in which he expla how fo work out which chords to se when Secomjapig mae slp hie nia oo gies ‘deri fe fin with mens natin ond the price of sli ston, ‘There 5 now evienes that Catalan tation was widely used im just the citeumstanes for which Anat devised his table. (canon eis “The cartes dad and probably test kuowa source of Catan cifras ix Drizen'e Metodo mus foctsumo para aprender ter la guitarra lo spate, prada Pais by Palo Malad sn 1826.4 Beicat wa Spaniard resin in Parham of in fin 1614 when he we apa cy already well slised as guitarist * Lous XY marie the Spanish Tnfanta Ane of Auss in 1618 and 4 4 rel culls and politcal ee between France and Spain were close atthe ne Franch hl the appeopinte Casini hove. A fuller seriehorde with Canlan cin found In Mersone's Hlarmonin Universe (C36)! They are ale dreribed by Pas de Ribas ln Lexy Norte mica! (UGTD"andare found na manuscript copy of the ntredutin e Santiago de Mureis's Resumen de aumputar,& Mu MARL! ‘Mersenne includes an Mlustaion of the guitar with able selling vet the chords in alam nd Fron tablarie togeher wih aaa te ‘Cutan cfs between the abatre sabes Merson mentions Prien the text "In Me M81 Carlian cfr have been added tthe chords A-L, Gand P ofthe ibvewdurio © Whit the corde I-7, + and Pare alway the ane, the teu of the sequence vance sightyfcom rource to source. A toleworhyfextare of hath Merarne ad Ms ALARI the wt of Thee fa fo sme major and minor chords, the mince version being ince by fot in Mersenne nada bin Ba MARI Ths dea may hae Been Reon Exaun 2 Sige f chins showing vitions in Eieti, Mersenne, Mi M1 nd tse Bib Lg gta te Re 8 Sie eS bea La & _ ore eile + “The chord represent by § In rzea's sequence af chords fs ws only ‘CaravandoHamads del Oratorio! om € 1.1 4 oot clear why i should be ferent from the usual G majer chord. hibayar also hae two discordant Sats for ccd Vad 2 fr ape en 0 ‘The fact that thre is considerable nrinton here the sources spree ‘that this system was popular in ein and developed over a period of ime Although the Aetod the easiest surviving dated source for Castan cas, ‘as mportnt fo empbasies that Miasto makes no claim fo hays invented tippy in inl tt it a Tinian afehen yn the yoo ota eta hy Arm Amat ry ve ‘been falar with Casullan soution. fa Chapce? of Guitare espaol he refer to ome ofthe names by which he chord were known: crusade maior {razodo menor vaca fas, vocusbaxas and puen** Some symbols used in ‘Casa nlauow are obviously dived rou ese wanes. Ths suggest tat the chords were Hit len by desing smcs wat were ate ipa ‘numer or symbols Churada fr exept (he chord of Dor) ree ‘ated the yb + which eet th shape which he agers make onthe fingerboard when playing the chord! In the “Segunda repla’ of Joseph GGueres'e Arte de guava! and in a tle ows maguszrp frm the New ‘Worl, Cia de vats curosidades! nt of the symbols ate equated wl ‘the vos names se Tale 1 overeat “The terms erode an pri Wore 50 wll known and widely used that, definitions of them were mcluded in the contemporary Diccronari de ‘th systems af taion coin he wl wil wll nl he gh ‘on Casio and Cartan noxon are oth toon in Mingnet y Vols Reglasy advertencias generates gue enschon el modo de tae todos fos, Instrantos. whih Nas panied tetneea 1732 a 1754.0 Amat s Gutarr ‘ipo saat beige 7D aod 1819.7 Printed sources "woe ane no sultan! puted sous of muss using Cala notation, The ses cpcenane st of ne ning Ein ssi Sa ‘way of incon material andi eo sellin of mss pope the tne I inclode dance mute for gitar alone and fr guitar and voice, and the fet f several lengthy romances wit guitar 2ecompaniment. ‘She Brie aclu ate explana lie eluid spb is aspect of ‘me ook presents no problems. The lhe ameriins poe ce UeGerona, Arte de pitas 1 atte 2 pte 4 ata aeraperenda) 5 Imedlgcrads medio 6 ome! det (pall) 1 rund * seat) Litt de varoecurioeidader i 6 prima i 6 bose ato 2 c endo 5 4 Tine ‘ a emer 7 € emoilo ps a pata xia agro RL raja hsence of ume signatures, the lack of any explanation ofthe note symbols Printed above the cys and the fast tat the floes Wo wish the vol Pieces ate tobe sua ate ol incl Mont f thew ref im hc snes md the mc, dupl rile can be determined fom those Those ape Une incl the Zaraanda,Eapatolta » Folia, Segui, Chacomas nd Sara expat ad hose in dupe ie the Fitlan, Pavonas, Callander and Hacker. Tie Ciscon, Rasta, 384 ‘Ranfnrona have not far been acoder snr The Pasar, Wich In thi outet ast 6a iteeduetion o nerd to ler pac, wl be in lupe or wipe mete depending onthe pce 10 which its nine. will ln, fxm, mu bh ame ke, and fo hi tason versions of tn "ele deen Fey re provid "The note symbols presit more of» problem. Thee const of vibreyes und munis only, vith dos ovsasonallyaached tether The wots sy mba te gimp ogee according tothe way i Which the hermany sme In {he pest mcm ave bmw ma onside the pieces actly second 6 the prinelps of mens nto wi ake depose of encceae Thee Ihowever atch simpler cxplnaton, ad at a hey speeent only he direction of the ros, the semibeve representing dower ad fa estoke Lhe dos generally indicate the ends of phn. This is supped iy evils Lu bar course where the sme pees re nme in way ‘hich fs more neni wndestaodabl ody. Ifthe book we nena Jo he aor Kor beginners, author and publsher ‘ould nt hve taken I for pried that rors would uidestand mensaral ‘otation, Asa muse publser, Bellrd may hove cna adcatethe stoke flue sn th way Beeause ths kind of type was rendly msl Wo him "The lok of precision tain gitar muse, especially summed msc, common in both Spins and alu sous, a debatable pat whether Contemporary readers ofthese works wl ave fod Une ea 0 upder= laa. Batlor's practi wa to charge sbbore fr pining dhe tak. The ‘mune ol wopie of Drizea's Metode produced may hrs hoon site all, rit uy wy ave culated amongst his owa cele of patrons nd its ‘The finer points oft el cad have been explained by werd of mouth “The sbsence ofthe melodies firth val puedes pseu a ore insupet= able probe, These ean only be supplied 17 they eau bs laced to other ‘Gousbraant sources, particolat he longer romances at the en. Howeret ‘SHrenocr of lund are very simple nd the many ofthe meadies for Gace forms son he fond ta wr sources, arranged for Bula instruments or in Woes! stings Im some vgsances it may be posible 10 ‘ntact melodies fom the chord seqnencee Te Sani srs the dance pieces ‘Se ually azeocated wih partclaekeys—thevllan fr ex ily im D jor a suitable melody can sometimes be consimced ro (he highest noe of wh cord” “The ely other printed some which ncades a substantial number of plese in Castilian notation is Rue de bynes Faz y norte masicul. This 6 8weaie dling with he guitar, the arp and ibsyar includes strummed versions of Xocors, Foliar, Pabonas, lon, Zorabanda. Matachin Marton. Rugero. Gallarda, Canario. Dana del ow cH ew ste od: o d: c A Tele Heme pes dre Ie fa Majer pre ne ale Te nate Pte ta mee pene 2. J. => + fh 3 f < ss = = Dour b Hp Du Ow Dw A oodoio d0: od odiod Fi ¢ ad A a Jeon tne teem geqe ome ge dam de 3 o 7 é c 4 |||) tl hp eat Scum ae) ee oie al oe at a re —+ = + + abit t ans Bat’ Dana ie Mock, om Meads, £1ewer 4 (overeat) Bria’ Ln Dana dela Hock, trom Metod, £11 “The Htochos is usualy nD mira Used on the chord peogression of the romancse HE, V1, Hen dp ae [A ‘This shows Brizeo's version with the the plac snterpreted inthe sate way a the previo exam | This is Sas vasion (nstrwecon, Book 1B.) (© This te Somr reddy which sates weds src, Ro.) 1D Thisisa strammcd verslon from Fn Ms Res. 1102, p. 102 entitled "Ta Ia tones Pedro, Lapagnal” Ther emo wee Aol tke piece ute Wave iis clear fom the stoke parr thar re pico sin dupe is. (Catalan and Catan oye are fond in a test tty manusript sources Aang from the seventeenth and elyhrcemh centuries. Thee a almost tral aust of voal ssi To WNICh the in proven wu secom- Pnimen! Thesmpay of thee are em iaamajoe collections. Tw me res, {he par notation ladles the least ear entaoracs ‘Ths presence of eft hes csnomlly baw asetioned im cave aes dling with sme sens, hy ve aban corel eid inlet between Catalunya Catala eras being wed in ‘Spnificntdifseace i the pe of msic in which fas ane ea othe ‘Desi mes af th sous, Whats arpaig is that none of arin= Tag soorces hve Cat et Cala aa iterayIagusge appears a have ” Samedo sre ia othe fous ith mesa eon, hs repre is examined as what he following palisin begins 0 (1 The ptr i invariably secalar No manasripts of acd songs with tet ‘a eas only have so a come to ight This eugecs tl sacred nonas ‘ner not sto press malades, (0) Ter isa gun by of Spanish pty with or without cas which