Check out Fantasia Alonso De Mudarra by Terry Muska on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on This edition of Fantasia X (No) by Alonso Mudarra (c–) is an arrangement of the original vihuela work. The nice harp-like fingering by Frederick. It is often referred to as Fantasía X or Fantasía 10 because it is the tenth fantasy in the His name is more commonly spelled Ludovico or Lodovico, but Mudarra .

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Alonso Mudarra

Instead, the title describes the type of piece—a fantasy—along with a description that may set it apart from other works of the same type. I say may because multiple works may use the same descriptive text. Such works can be distinguished from each other by their folio numbers or by assigning to each a number based on their order of appearance compared to other works of the same type. Luduvico was a celebrated harpist who used chromatic dissonances in his playing.

From here to near the end there are some dissonant notes; played well they are not displeasing. In addition to the above caution, the piece itself is preceded by the following guidance: The same can probably be said of any piece of unfamiliar music, but in this case it is particularly informative about the era of the work.

The music was likely quite different from anything yet composed fantasiq the vihuela. It sounds quite modern to 20th and 21st-century ears and may have sounded strange to the 16th-century musician and audience.

If you find the style unfamiliar, you have the benefit of being able to listen to recorded performances.


Fantasia No. 10 (Mudarra) for harp sheet music for Harp download free in PDF or MIDI

I recommend listening to Julian Bream’s performance on the lute I think it’s better than his later vihuela recordingeven though it gets one measure of music wrong more on that later. The original tablature calls for E and A fanttasia played together in measure 42 of my transcription instead of in sequence.

I have arranged the piece to be played using arpeggios as much as possible instead of the non-overlapping notes specified in parts of the original tablature. Although sometimes more difficult to play, this approach produces better results on the guitar.


Mudarra – Fantasia 10 sheet music for Guitar download free in PDF or MIDI

The vihuela used two strings per course and could probably produce sufficient resonance when played one note at a time. But even Julian Bream’s lute peformance—the lute also using two strings per course—relied heavily on reverb natural or otherwise and the instrument’s resonance to create a rich sound. In order to evoke the harp-playing the piece imitates, arpeggios suit the guitar well, allowing notes to ring one on top of another.

Keep in mind, however, that Luduvico’s technique for playing chromatic intervals on the harp involved pressing a string with his finger, meaning that notes likely didn’t ring on top of one another.

Instead, the playing 100 was probably more like what Mudarra notated for the vihuela, where mudarda note dies as soon as the next one is played on the same string.

Of special note are measures 41—42, which you will almost always hear played incorrectly as a result of the plagiarizing of transcription errors or editorializations common 1 the music publishing industry. If you look at the actual tablature in Figure 1measure 42 of my transcription is correct, where rantasia E 2nd fret fourth string and A open fifth string are played together instead of in sequence, as commonly played.


When mudqrra this piece—at least with the fingerings in this edition—it is especially important to place your fingers in position as you are playing. In many instances, you will want to leave a finger in place as long as possible before moving it, ensuring a note sounds to maximum duration.

At various points you will have to make use of hinge barres. That allows you to bring the barre back down onto the strings to play the subsequent E. Also, in measure 73, play mudarrs third-string A by using a hinge barre, keeping the first finger on the fourth-string E.

It is possible to play that sequence without a barre, using the third finger for the Cthe first finger for the Eand the second finger for the Abut that makes it fangasia comfortable to move into position for the first chord of the next measure. Play it whichever way works best for you.

Fantasia No.10 (Mudarra, Alonso)

Regenerated output after fixing LilyPond 2. The parameters used for LilyPond 2. Contains notes and initial fingering. Later revisions kudarra correct discovered errors, change fingering, improve legibility of the engraving, and make other editorial changes. Three books of music in tablature for the vihuela. Changed left-hand fingering in measures 71 and