A year of ballet playing cards #36: A triple meter ballad by Tárrega
- Download the free piano score of this Tárrega piece (pdf)
- Read more about my Year of Ballet Playing Cards
A Tárrega ballad, the perfect plié music?
When I say “perfect” what I mean is that this music somehow meets precisely the expressive, metrical model that you often need for pliés: something in 3, that has precise demarcations of the beat and sub-beats (so that the movement can be carefully measured) yet avoids being metronomic. It is also in the 2+2+4 phrase pattern (demi-demi-full) that so many plié exercises require. It has breath and space at the end of the phrases for changes of position, or what I like to call forgiveness in the design. It’s simple and “quiet” rather than complex and bombastic. For the first exercise of the day, it opens the door softly and whispers “come in!” Although the dynamic markings are mine, they indicate how the pitch contour and the dynamics can contribute to the gentle up-down-squeeze movement of the exercise.
When I say the perfect plié music, I don’t mean that this is what all plié music should sound like (and I like to go all out sometimes, with a big song like Tonight from West Side Story) but that it’s the proof in musical form that somewhere in the musical universe, there is something that sounds like the thing the teacher marked. It’s taken me about 30 years to find it. The song from Jeux Interdits used to do it for me, but I can’t play that anymore, ever since I put it in a syllabus, and ever since I heard someone say “And she played that song for god’s sake!”
I’m calling this a “triple meter ballad” because I have no idea what else to call it, but I hope it makes sense as a category.
Guitar playing as a model for piano playing
I could have walked straight past this music, had I not heard Per-Olov Kindgren play it in this Youtube video.
Listen to this, and see if you ever dare play a single note on the piano without thinking about how you’re going to place and time it. The trouble with the piano is that it’s so easy to play. What makes music sound like music is often the sense of effort or skill that it takes to do something difficult like play a high note. On a piano, it makes no difference whether the note is high or low, it takes the same effort. Likewise, when notes fall easily under your fingers, they can come out with no more expressivity than typing. It’s a keyboard, after all. But on a guitar, you can’t do this. There are ergonomic challenges, affordances that lie between the human hand and the construction of the guitar, that give rise to nuances of timing and expression.
The trick with playing this piece on the piano is to hold back, to place the notes with the same care and precision as if you were having to pick them individually by a combination of movements in both hands, even when there is only a single line to play. I’ve found that Lagrima enables you to find moments in plié exercises where you can be very free with timing in a way that feels totally right. Teachers don’t have to hold you back, or tell you not to hold back when you do. The more you can keep the teacher quiet, the better, so it’s perfect in that sense too.
The second piece, ¡Adelita! is a little mazurka. You have to be even more careful to keep the slow three going in this. If you maintain the same tempo as you set up in Lagrima, you can use it to extend and vary the music during the plié. Of course, it would also work for port de bras, ronds de jambe etc.
About the arrangement
I’ve changed the bass line in a couple of places because otherwise it would sound a bit exposed on the piano. I’ve added in some notes that maybe Tárrega would have done, had they been easier to play on the guitar. Sometimes when I’m playing this, I also go down an octave. Once you’ve got the general idea, you can play around with dynamics and pitch to add interest. With ¡Adelita! I meant to add some octaves in the bass, and maybe bring the melody of the first half down an octave, but I forgot. I’ll play around, and maybe upload a new version.
I’ve over-notated the score with dynamics, phrasing and articulation, just as a kind of warning not to let the notes fall out of your fingers too easily. What I was aspiring to was the kind of finger-by-finger dynamics that Percy Grainger does in some of his arrangements, that informed much of the way I play now. There’s almost nothing to this piece at all – it’s all in the articulation and dynamics, but there’s no need to take them as directions, more as an idea for how to approach it.
Where have I and my 52 cards been?
It’s over six months since the last update. It’s been a hell of a year, most of it entirely good, but everything (including my PhD which I had to interrupt for 6 months) had to take a back seat. I’m hoping to resume better (if not normal) service from now on!