BIZET

Ha­banera

Guitar Techniques - - • Contents • November 2014 • -

Brid­get Mer­mikides tames the re­bel­lious bird that is this beau­ti­ful and in­stantly recog­nis­able aria from Car­men for solo clas­si­cal gui­tar.

bril­liantar­rangin­gan­dorches­tra­tionthat re­ally­bringsit­to­life.

I’vere­tainedthe­o­rig­i­nalkey­ofDm (mod­u­lat­ing­toD­ma­jor),drop­pingth­e­sixth stringfromE­toD,andthe­p­iece­works sur­pris­ing­ly­wellon­theso­lo­gu­i­tar.The rhythmwhichopen­s­the­p­iece–and re­main­spromi­nent­through­out–has adis­tinct­lyLat­in­feel.Itis­base­dona 19thCen­tu­ry­dance­know­nas­the Con­tradanza(orHa­banera out­sideit­sna­tiveCuba)and­has awon­der­ful­lye­voca­tive tango-es­que­flavour.This should­be­playedass­nap­pilyas pos­si­ble,an­di­fy­ouwant­this piece­tosoundits­best,you’ll have­towork­to­muteth­e­bass notes,keep­ingth­e­mattheir writ­ten­length(see­thetab cap­tions­for­moredi­rec­tion). This­bass­rhyth­mis­cou­pled with­the­fa­mous,and­gor­geous, de­scend­ing­melody­line.

Fromaper­for­mance stand­pointyou’ll­want­to­keep thisas­lyri­ca­landle­ga­toas pos­si­ble–again,thetab cap­tion­swill­guidey­outhrough thet­rick­ier­sec­tions.

Fi­nally,you’ll­wantto em­u­lateth­e­dra­maw­ith­the stab­sin­bars36,40,52,56and 60,soaim­tocre­ateas­much dy­nam­ic­con­trastas­pos­si­ble here.Working­o­nallthese de­tail­swill­pay­offintheend andyou’ll­bere­ward­ed­witha won­der­ful­piece­toad­dtoy­our work­ingreper­toire.

Ge­orgesBizet: Car­men’sbril­liant French­com­poser

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