whata charm and elegant arrangment .. defineety
a wonderful piece ..and you as always knew how to
flurish it with your own way ...thnx alot for sharin
such them !!!!

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This is a gorgeous piece of music... what a find! And as always, what a wonderful summarized biography. Thank you Bill (TheTiler) for getting Scotty interested, and Scotty, excellent choice of music. It is so generous of you to educate us about the huge world of musicians around us. I love it. Hope you avoid Gustav, I'm wishing for your safety!
ttfn,
Drakonis

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I just love how you do these. This is gorgeous, so well done - thanks for the backstory.

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Always a thrill and privilege to be introduced to something "New".
Best,
Charlie

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Interesting to hear your take on this... I have played and taught this piece for years, and, as one of the most popular pieces in the guitar repertoire, I have heard many times, but hearing your version is a treat because of the way you draw attention to the melody, something that is deceptively challenging for guitarists to do in this work because of the unusual way it is written. In a typical Alberti bass accompaniment figure, chords are usually played 1 -5 - 3 - 5 %u2014 in other words, the bass note occurs on the first beat, which helps give a sense of where the main beats are. In La Catedral, Barrios puts the highest note first and the lowest note second in the groups of 16th notes, which gives the listener a somewhat confused sense as to where the beat begins. Does it begin with the high note (it does), or the low note (it doesn't), which is more typical? So, the challenge for guitarists is to de-emphasize the low notes that occur on weak portions of the beat, when the natural tendency is to emphasize the lowest note in any group of notes in an arpeggio figure.

You succeed in this by virtue of the fact that your melody timbre is so distinct from the accompiment figure, so we here the beat beginning in the the right place.

Here are a few suggestions:
1. Consider making the 3rd note in each group of 4 16th-notes slightly louder than the 2nd and 4th, which, if played at the same volume, tend to sound louder simply because lower notes are generally heard as being louder (and hence the beginning of a beat) than higher ones.

2. The rit. at the end starts a bit early and is a bit overdone, for my taste. But that is just my taste, so if you like it, keep it!

3. Consider making the accompaniment notes last longer, as they would on a guitar. Yes, they are written as 16th-notes, but guitarists try to make each note last as long as possible, much like playing piano with the pedal down and clearing it whenever the chord changes.

Sorry for being so long-winded!

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I always love to hear your takes on pieces and this is no exception. Wonderfully done! I have to agree with Feter that this is a charming arrangement.

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...simply beautiful....thanks so much...second time through and a download and I'll listen again right now...


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Interesting orchestration. I agree with composer clask that the particular timbre you used for the melody line is excellent, because the melody does stand out in relief against the accompaniment. It has a very dreamy quality as played here.
Thanks, also, for the biography. It helps me appreciate musicians when I know more about them and their backgrounds.

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It is always a treat, cause I know it will be of quality.

This is a bit different,it has a very mysterious,almost lost fantasy sound.
Unique and haunting.

Thanks for mentioning about Mangore, I am going to have to find more about this piece. But not sure if it can get much better than this. You really capture a haunting fantasy

Scotty what a LOVELY description you provide.Sorry I didn't get to this gem sooner. So glad that your featuring him. To me he has elevated the guitar to high levels that most guitar composers cannot come close to and least I think so.

You really helped I think it bringing out his importance!

Bravo, Bravo!

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I wanted this song to last for about 13 minutes. The atmosphere you create - melancholic but with a yearning quality - is gorgeous. Listening to this, I have a similar experience as when I'm enjoying Arv� P�rt's 'Spiegel im Spiegel'. And that's a big compliment since it's rare to come across music with this kind of simplicity and depth. And that includes both the composition and arrangement. I was hoping the build-up at the end would extend into a second round. And this may come as a surprise - pardon my comparisons here - but 'Massive Attack' (of all groups) did this little gem of a song called "Two Rocks and a Cup of Water" with a very similar feel to it.

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beautiful piece of music and a wonderful insite to follow up.
Must hear the guitar version.
Thank I'm off to the library.

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Thank you for the wonderful music. An awesome deidcation, thanks also for the info about this great man! A rich and beautiful track, impressive and excellently played and produced. Bravo!!

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I would like to know if the melody is yours or Mangore. The synth rendition is beautiful!

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