La Catedral – III. Allegro solemne (Agustin Barrios Mangore). By Agustín Barrios Mangoré. • 1 song, Play on Spotify. 1. La Catedral – III. Allegro. La Catedral Iii Allegro Solemne guitar pro tab. by Agustín Barrios Mangoré Get access to Pro version of “La Catedral Iii Allegro Solemne”! Ultimate Guitar Pro. La Catedral is perhaps Agustín Barrios’s best known and most played composition , Third movement typeset to fill three pages.

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Although some people reject the first movement as being part of La Catedralit fits perfectly with the rest of the work and is a great work in its own right.

La Catedral by Agustín Barrios –

Renotated using LilyPond, making corrections and clarifications along the way. Left-hand fingering collided with the time and key signatures in various measures, causing the fingering to be rendered out of place. My original transcription combined barrioz two because I thought the three-voice notation could be more challenging to read and the two-voice notation was inaccurate, rendering some quarter notes as sixteenth notes.

All three movements typeset at same font and staff size with same sized margins. In some cases I stay true to the Barrios recording of La Catedral e. Notated only 3-voice version for clarity.

That’s what happens when you memorize music and rarely go back to read a score, whereupon you notice all the minor errors. My most recent transcription notates three voices without the clutter of an overlayed two-voice rendition.


Changed measure 8 to match later manuscripts.

Fills ten pages including title page. Changed second voice dotted half notes to whole notes in measures 1 and 2. Actively Maintained LilyPond Output. Throughout his career, Barrios evolved how he played La Catedraladding and removing parts, changing fingerings, and renotating entire movements.

Solemme fingering of second D”’ in measure 74 of third movement to use second finger on second string.

More by Agustín Barrios Mangoré

Since then, I have changed my mind. It should have been a dotted quarter note instead of a quarter note.

Corrected beat allehro for third movement tempo. Changed left-hand fingering in measure 20 of “Andante Religioso” and added a slide to a grace note, reflecting a subtle portamento you can hear Barrios play in his only recording of the work.

Barrios wrote the original two movements, Andante Religioso and Allegro Solemnein Uruguay in Combining the two provided what I ls was the ease of reading of the two-voice notation along with the accuracy of the three-voice notation. Part of the joy of listening to or performing La Catedral is the variety of arrangements and interpretations it makes possible, providing something new to discover each time it is played.

As a result, you will find that nobody plays it exactly the same way, depending on which transcription they are working from and how their preferences shape the bits they incorporate or omit to create their own unique renditions. Corrected measure 4 fingering finger 2 should have been 3.


Finally, the metronome mark for the third movement is probably too fast. Preludio Saudade was written originally in two voices Costa Rica manuscriptbut later renotated in three voices El Salvador manuscript. Even though La Catedral is one of Barrios’s early works written init didn’t assume vatedral final form until the last years of Barrios’s life, when the Costa Rica and El Salvador manuscripts were written.

Preludio Saudade was added as the first movement solemeafter having been written in Havana, Cuba in Removed measure 46 grace note slide. Edited fingerings, note durations, and overall typesetting for greater accuracy and clarity.


Fixed formatting issues in “Andante Religioso” in the “-notab” version. Clarified first voice in measures 41 and I’ve omitted most dynamics not that Barrios notated many dynamicsleaving it up to the performer to decide how to interpret the piece. The campana sklemne measures 31—45 repeats as Barrios played it and its fingering matches his original fingering which changed in the later manuscripts. Changed double-dotted notes in measure 5 to use ties.