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An Overview and Performance Guide to Joaquín Rodrigo’s Fandango from Tres

Piezas Españolas

Thesis · September 2016

DOI: 10.13140/RG.2.2.24260.32647

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 An Overview and Performance Guide to
Joaquín Rodrigo’s Fandango from Tres Piezas Españolas

John A. McDowell

Dissertation submitted in partial fulfilment of the requirements

for the Bachelor of Music degree
Dublin Institute of Technology/Trinity College Dublin
Conservatory of Music and Drama
Supervisor: Adrian Smith
May 2016

i
 Dedication
To my amazingly supportive mum.


!ii
 Table of contents
Page
Title page i
Dedication ii
Table of contents iii
List of tables v
List of figures v
Acknowledgements vi

Chapter 1: Introduction 1

Chapter 2: Rodrigo - life, music, and influences 4

2.1 Biography 4
2.2 Development of Rodrigo’s compositional style 5
2.3 Andalusian music and Rodrigo’s compositional style 6

Chapter 3: Analytical premise 10

Chapter 4: Analysis 13
4.1 Stylistic analysis 13
4.1.1 Opening section bars 1-35 14
4.1.1.1 Theme A bars 1-3 14
4.1.1.2 Transition bars 28-35 15
4.1.2 Central section bars 35-58 17
4.1.2.1 Theme B first progression bars 35-47 18
4.1.2.2 Theme B second progression bars 47-58 19
4.1.3 Closing section bars 59-102 20
4.1.3.1 False recapitulation bars 59-65 21
4.1.3.2 Sextuplet/triplet passage bars 66-73 21
4.1.3.3 Dominant pedal triplet section bars 77-94 22

!iii
4.2 Motivic analysis 24
4.2.1 Passage from bars 5-17 derived from theme A 25
4.2.2 Repeated quaver bass motif 26
4.2.3 Melody in triplet semiquaver passages bars 79-83 27
and bar 89-93

!iv
 Table of contents
Page
Chapter 5: Performance guide 29
5.1 Approaching the stylistic contrast 29
5.1.1 Opening section bars 1-35: reflecting the Spanish 29
classical style
5.1.2 Central section bars 35-58: evoking the mood of 30
Andalusia
5.1.3 Closing section bars 59-102: return of Spanish classical 31
style
5.2 Approaching the melodic and motivic content 31
5.2.1 Approaching the passage from bars 5-17 32
5.2.2 Emphasising the repeated quaver bass motif 32
5.2.3 Emphasising the melody in triplet semiquaver passages 32
bars 79-83 and 89-93
5.3 Solutions to specific technical and interpretive challenges 33
5.3.1 Interpreting sextuplet gesture bar 2 33
5.3.2 Proposed fingering for consistent realisation of bars 33
69-73
5.4 Suggested amendments to the score 35
5.4.1 Consistency in all statements of theme A 35

Chapter 6: Conclusion 37
6.1 Summary of the dissertation findings 37
6.1.1 Influence of Andalusian music on the work 37
6.1.2 Analysis 37
6.1.3 Problems in execution of the work and alternative 37
fingerings
6.2 Limitations of the research 37
6.2.1 Limited length of the dissertation 38
6.2.2 Spanish language limitation 38
6.2.3 Original manuscript 38
6.3 Suggestions for further research 39

!v
6.4 Concluding comments 39

Bibliography 41

!vi
 List of Tables
Page
Table 4.1 Formal structure of Tres Piezas Españolas, mvt. 1, 14
Fandango

List of Figures
Page
Figure 4.1 Fandango theme A (Bars 1-3) 15
Figure 4.2 Bars 25-36: The conflicted transition from the 17
classical style to the Andalusian style
Figure 4.3 Bars 35-39: The first statement of theme B 18

Figure 4.4 Bars 45-46: The sudden dissonant semiquaver passage 19

suggesting E major and E minor
Figure 4.5 Bars 55-61: The Andalusian D-C-Eb-D progression and 20
its resolution to theme A
Figure 4.6 Bars 58-65: The false recapitulation section 21
Figure 4.7 Bars 66-73: The Sextuplet/Triplet passage 22
Figure 4.8 Bars 85-89: The sequence of the alternating fourth 23
semiquaver motif
Figure 4.9 Bars 5-17: Most of the material in this passage is 25
derived from theme A
Figure Triplet passages of bars 79-83 and bars 89-93 28
4.10
Figure 5.1 Bars 69-73: the two fingering strategies 35

!vii
 Acknowledgements

Completion of this dissertation has been supported by number of individuals

and institutions. I would like to thank guitarist and mentor, Dr. John Feeley,
who has guided me through the analytical aspect of this project with
commitment and patience. I would also like to thank my guitar teacher, Alan
Grundy, who has helped me with some academic writing challenges and has
informed my own performance approach to Rodrigo. I am extremely grateful
to internationally recognised guitarist and published writer on Rodrigo,
Graham Wade, with whom I have enjoyed an informative correspondence
during the project. I am also grateful to my supervisor, Adrian Smith, who
has helped with many of the structural challenges in this project. I would
also like to thank Dr. Clíona Doris, head of the Conservatory of Music and
Drama, and Ian Dakin, head of the Orchestral Department at the
Conservatory of Music and Drama. Many thanks also to the library staff at
the Dublin Institute of Technology.

!viii
 CHAPTER ONE: INTRODUCTION

Tres Piezas Españolas was composed by Spanish composer, Joaquín Rodrigo

(1901-1999), in 1954 and dedicated to the legendary guitar maestro Andrés
Segovia. The work is a fine example of Rodrigo’s ability to fuse the
traditional popular music of Andalusia with Western art music.1 The
combination of these two styles is immediately evident from the titles of
the three movements: Fandango, Passacaglia, and Zapateado. The Fandango
and the Zapateado are traditional Spanish dances while the Passacaglia,
despite its Spanish origins, is a form more associated with Western art
music.2 This dissertation provides an analysis and performance guide to the
Fandango movement. Unfortunately, it is beyond the scope of this
dissertation to cover all three movements as it would be impossible to
address them in sufficient depth within the given word-count allowance.
The decision to cover the Fandango movement is made on the basis that it is
the best known and commonly performed movement of the triptych and
features more stylistic variation and interpretive challenges than the
Passacaglia and the Zapateado. The Fandango is also the only movement
which Segovia performed.3 This movement is technically demanding even for
the professional guitarist. There are numerous passages that require
considerable technical ability in both the left hand and the right hand, as
well as some passages that require awkward fingerings.4 This performance
guide attempts to help performers overcome these technical issues while
performing intentionally, and argues for certain performance solutions that
can be justified by stylistic awareness.

1 Ciulei, Silviu Octavian: Flamenco Guitar Techniques in the Music of Joaquín Rodrigo
(2013), The Florida State University, Electronic Theses, Treatises and Dissertations, Paper
7330, (11/11/2015), p. 31

2 Ciulei, Silviu Octavian, p. 31

3Wade, Graham: Distant Sarabandes: Solo Guitar Music of Joaquín Rodrigo, GRM
Publications, 1996, p. 24

4 Ciulei, Silviu Octavian, p. 33

1
The performance guide is achieved through an analysis of the historical,
stylistic, and technical elements of the Fandango. The analyses are
undertaken from the perspective of the guitarist, with comments which
inform the interpretation and performance of the piece. This study discusses
interpretive and technical challenges in the execution of the Fandango and
attempts to present ways to overcome these problems.

To date, very little is written about Rodrigo’s Tres Piezas Españolas and no
formal performance guide currently exists, to my knowledge. Also, the only
edition of this work that is commonly available is the edition by Segovia, to
whom Rodrigo dedicated the work. There are some mistakes in this edition
as well as suggested fingerings that are problematic for technical and
interpretive reasons. I have attempted to respect the musical content of
Rodrigo’s work while at the same time rendering it more easily accessible to
modern guitarists. This performance guide presents solutions to awkward
passages not solved in the Segovia edition.

Internationally recognised guitarist, and one of the foremost writers on the

classical guitar, Graham Wade, has published three books on Rodrigo which
touch on Tres Piezas Españolas but do not provide the detailed analysis that
this study presents. Dena Kay Jones’s doctoral dissertation, The Piano Works
of Joaquín Rodrigo: An Evaluation of Social Influences and Compositional
Style, offers some excellent insights into the external influences on
Rodrigo’s compositional style but does not provide much insight into
Rodrigo’s relationship with the guitar. Much of the remaining literature on
Rodrigo is in Spanish and translations could not easily be obtained for this
study.

The dissertation addresses three main issues for research.

(1) Influence of Andalusian music on the work

Many of the interpretive questions the performer faces in playing the

2
Fandango must be informed by an understanding of the influence of
Andalusian harmony, rhythm, and style on the piece. Understanding the
Andalusian influence reveals much about the musical intent of the work and
subsequently allows for a stylistically informed interpretation of this
masterpiece. This dissertation establishes which elements of Andalusian
music may have influenced the composition of work in order to justify
interpretive suggestions and draw the performer’s attention towards the
musical context of certain harmonies, rhythms, or techniques that appear in
the Fandango. This issue will be addressed in Section 2.2 - ‘Development of
Rodrigo’s compositional style’, and Section 2.3 - ‘Andalusian music and
Rodrigo’s compositional style’.

(2) Analysis
As well as understanding the influence of Andalusian music on the piece, the
performer must be aware of the harmonic and thematic material from which
the Fandango is derived if a coherent and contextualised interpretation of
the piece is to be achieved. This dissertation identifies the main harmonic
and thematic ideas that underpin the movement in order to inform
interpretive and editorial decisions and to provide the performer with a
greater understanding of the piece as a whole. This issue will be addressed
in Chapter 4 – Analysis.

(3) Problems in execution of the work and alternative fingerings

Having established the Andalusian influence and the main thematic ideas
pervading the movement, this dissertation discusses significant interpretive
questions facing the performer and advocates certain solutions. This issue
will be addressed in Chapter 5 - Performance Guide.

The research methods carried out during this project are outlined below.

To understand the influence of Andalusian music on the work, research was

carried out by reading literature on Spanish harmony, rhythm, and
technique. The scores of other twentieth century nationalist composers such

3
as Manuel De Falla and Isaac Albeniz were also studied. Analysis of Rodrigo’s
Fandango was based on the Segovia edition. Analysis was conducted in four
stages in the following order: (i) large scale formal analysis, (ii) thematic
analysis, (iii) analysis of significant harmonic progressions and overall
harmonic language, (iv) in-depth analysis of technically demanding sections.
This approach allowed for a comprehensive analysis of the piece. The
optimum alternative fingerings were found through a comprehensive process
of trial and error. This was done by exploring and practicing the various
fingering configurations to determine which fingerings were the easiest and/
or most conducive to an appropriate interpretation.


4
 CHAPTER TWO: RODRIGO - LIFE, MUSIC, AND INFLUENCES

This chapter outlines relevant aspects of Rodrigo’s life, compositional style,

and historical context, which are important in formulating a well-informed
understanding of Tres Piezas Españolas.

2.1 - Biography

Joaquín Rodrigo was a prominent Spanish composer who attained

considerable international recognition after the premiere of his guitar
concerto, Concierto de Aranjuez.5 Despite being known today almost
exclusively for his Concierto de Aranjuez, he also composed over 150 other
pieces for a variety of different instruments.6 Rodrigo is recognised among
other world-renowned Spanish composers, such as Isaac Albeniz, Manuel de
Falla, and Francisco Tarrega, as one of the most significant composers of
Spanish nationalist music.7

Rodrigo was born in 1901 to a wealthy family in Sagunto, a small town in the
province of Valencia in Northern Spain on November 22nd, Saint Cecilia’s
Day, the patron saint of music.8 In 1905 there was a diphtheria epidemic
which resulted in Rodrigo becoming incurably blind.9 According to Rodrigo
himself, his blindness ultimately led him to music.10 His early musical
experiences included the music of Verdi and Bizet on the family player

5 Anonymous, ‘In memoriam: Joaquín Rodrigo’, The Musical Times, Vol. 140, No. 1868
(Autumn, 1999), p. 6-7.

6 Anonymous, ‘In memoriam: Joaquín Rodrigo’, p. 6-7.

7 Ciulei, Silviu Octavian, p. 6.

8 Wade, Graham: Joaquín Rodrigo, A Life in Music, p. 3.

9 Wade, Graham: Joaquín Rodrigo, A Life in Music, p. 6.

10 Jones, Dena Kay, p.16.

5
piano.11 Rodrigo, unlike many other great composers, was not a child
prodigy and only seriously dedicated himself to studying music at the age of
sixteen.12 As a teenager, he studied privately with teachers from the
conservatory in Valencia including Francisco Antich Carbonell (1860-1962)
with whom he studied harmony and composition.13 Rodrigo’s friend, Eduardo
López-Chavarri, wrote of Carbonell: “He was an exemplary teacher, not
unacquainted with modernity, with such excellent pedagogic ability he
never distorted the personal characteristics of his students.”14

By the time of his first serious works, Dos esbozos for violin and piano
(1923), Juglares (1923), and Suite para Piano, Rodrigo had become an
accomplished pianist and a promising composer. In 1927, Rodrigo moved to
Paris with his personal guide, Rafael Ibáñez, where he began studying with
Paul Dukas at the École Normale de Musique.15 Rodrigo greatly admired
Dukas. When Dukas died in 1935, Rodrigo wrote to his friend López-Chavarri:
“It has been a very sad time for me recently, since I felt admiration for the
musician and even more for the man himself. Fauré, Debussy, Ravel, as
musicians were his equals, but not as men in the purity and true meaning of
that word.”16 Dukas was also sympathetic towards Spanish culture, having
been a friend and mentor to Isaac Albéniz.17 Rodrigo would meet with Dukas
twice a week for two hours where Dukas would spend the first hour
correcting Rodrigo’s compositions and spend the second hour teaching

11 Jones, Dena Kay, p. 57.

12 Wade, Graham: Joaquín Rodrigo, A Life in Music, p. 7.

13 Wade, Graham: Joaquín Rodrigo, A Life in Music, p. 7.

14 Wade, Graham: Joaquín Rodrigo, A Life in Music, p. 7.

15 Wade, Graham: Joaquín Rodrigo, A Life in Music, p. 41.

16 Wade, Graham: Joaquín Rodrigo, A Life in Music, p. 238.

17 Wade, Graham: Joaquín Rodrigo, A Life in Music, p. 43.

6
musical analysis.18 Dukas had a deep awareness of music criticism and
studied editions of baroque composers such as Rameau and Scarlatti.19 This
is likely to have influenced Rodrigo’s compositional approach, especially his
neoclassicist leanings. Some of the similarities between Dukas’s and
Rodrigo’s compositional styles include expressiveness, complexity, and an
emphasis on lyricism.20

2.2 - Development of Rodrigo’s compositional style

Rodrigo’s compositional style was also influenced by the Parisian artistic

environment. Irish music scholar, Walter Starkie, explains the influence of
early twentieth century Paris on foreign composers in his book, Spain: A
Musician’s Journey Through Space and Time:

“[…] the Athenian clarity of French musical thought, in addition to turning the
composers of other countries into vague cosmopolitans, actually increased their
desire to deepen their own race consciousness and go in quest of the melodic forms
and ancient scales of their own countries.”21

One aspect of the Parisian artistic environment which influenced Rodrigo

was the musical impressionism of Claude Debussy and Maurice Ravel. Musical
devices such as the use of modes, coloristic sonorities, and quartal
harmonies seemed to have influenced Rodrigo’s compositional style and can
be heard in his Tres Piezas Españolas.22 The vogue for neoclassicism was also
prominent in Paris during the early twentieth century with one of the most

18 Jones, Dena Kay, p. 66

19 Wade, Graham: Joaquín Rodrigo, A Life in Music, 45.

20 Jones, Dena Kay, p. 67

21Starkie, Walter: Spain: A Musician's Journey Through Time and Space, Edisli, 1958, p.
135.

22 Jones, Dena Kay, p. 60-61.

7
influential neoclassicists, Igor Stravinsky, living in Paris at the time.23 It is
important to note that Rodrigo did not like the label of neoclassicism as it
implied returning to the classics. On the contrary he believed that Spanish
composers never left the classics for they were born into a classic
tradition.24 Spanish nationalism was very different from the neoclassicism
that was occurring in other countries as the traditions of Spanish music were
still alive and well in Spain at the time of the Spanish nationalist
movement.25 The rise of atonal music and the serialist music of the Second
Viennese School was another musical movement with which Rodrigo became
familiar during his time in Paris. While Rodrigo did not adopt an atonal
language, he did experiment with it briefly which may have contributed to
his preference for harmonic and melodic dissonance. The fact that atonal
music had come to be accepted in Paris meant that Rodrigo may have felt
comfortable using considerable amounts of dissonance in his own works.26

Another important consideration when studying Rodrigo’s works is the effect

of his blindness on his compositional process:

“I can write quickly, probably comparable to one who writes with pen and paper, or
to those who have eyes and see with them. The worst part of it all is the
transcription step, because, yes, this is a bother. After I have compiled my ideas in
my braille machine, I have to translate and dictate them to a copier, and this takes
time and energy. One of my scores, with fifty or seventy pages, requires an infinite
number of working hours to write it in normal musical notation.”27

It is possible that this arduous process may be one of the reasons why many
of Rodrigo’s pieces are generally short. It is also a possible explanation for
some of the mistakes that appear on the published edition of Tres Piezas

23 Jones, Dena Kay, p. 61-62.

24 Jones, Dena Kay, p. 63.

25 Jones, Dena Kay, p. 63.

26 Jones, Dena Kay, p. 65.

27 Jones, Dena Kay, p. 68.

8
Españolas.

Rodrigo was a trained pianist but was not a guitarist. It was not until the
composition of his famous Concerto de Aranjuez that Rodrigo proved his
compositional ability with the guitar. Some of his earlier works for the guitar
such as the Zarabanda Lejana and the Toccata para Guitarra (1933) reflect a
certain inexperience with the instrument. The Zarabanda Lejana was
written in such manner that it is difficult to play legato where necessary,
while the Toccata para Guitarra was not performed until 2006 likely due to
its highly unidiomatic guitar writing.28 The Concerto de Aranjuez was
composed in 1939 at the suggestion of guitarist Regino Sainz de la Maza.29 In
this work, Rodrigo displayed a great understanding of the guitar and seemed
to have achieved a highly developed ability to exploit the resources of the
guitar.30

2.3 Andalusian music and Rodrigo’s compositional style

Much of Rodrigo’s distinctive harmonic language is derived from Andalusian

popular music.31 The popular music of Andalusia represents a synthesis of
Arab and European musics which date back to the era of Moorish rule in
southern Spain from AD 711 until the fall of Granada in 1492.32 However, the
expulsion of the Moors did not end the influence of North African music on
Andalusia.33 The most significant influence of North African music on the
music of Andalusia was the use of distinctive modal-harmonic system

28 Wade, Graham: Joaquín Rodrigo, A Life in Music, p. 164.

29 Wade, Graham: Joaquín Rodrigo, A Life in Music, p. 404.

30 Wade, Graham: A Concise History of the Classic Guitar, p. 129.

31 Jones, Dena Kay, p. 144.

32 Oxford Music Online: Spain, I - Art Music (Accessed 26/2/2016).

33Manuel, Peter: ‘Modal harmony in Andalusian, Eastern European, and Turkish syncretic
musics’, Yearbook for Traditional Musics, Vol. 21 (1989), p. 72.

9
commonly referred to as “Phrygian tonality”.34 Andalusian Phrygian tonality
is closely related to two Arab modes (or māqāmāt, s. maqām)35, Bayati and
Hijaz.36

In Andalusian Phrygian harmony, chords built on the fifth degree of the scale
are rare. Instead, the dominant function is carried out by the leading note
and, more commonly, the supertonic. A very common chord progression in
Andalusian harmony, which incorporates the dominant function, would be
Am-G-F-E. This chord progression can be seen as the basis of Andalusian
Phrygian music and features prominently in Tres Piezas Españolas.37

In Andalusian popular styles, the tonic is very often E. This is a result of the
inextricable connection between the guitar and the music of Andalusia
which will be addressed further on. In Andalusian Phrygian E tonality, the
tonic is typically a major triad (E major) with minor triads on the fourth and
seventh degrees (A and D), and major triads on the second, third, and sixth
degrees (F, G, and C).

Rodrigo makes frequent use of dissonance. Major and minor 2nds and 7ths
appear so frequently that the listener begins to perceive them as consonant
sonorities.38 This is in part a result of the connection between Andalusian
music and the guitar. The extensive use of altered chords is often found in
Andalusian harmony. Many of the non-triadic tones heard in the altered
chords of Flamenco guitar are played on open (unfretted) strings (E-A-D-G-

34Manuel, Peter: Modal Harmony in Andalusian, Eastern European, and Turkish Syncretic
Musics, p. 72.

35Manuel, Peter: Modal Harmony in Andalusian, Eastern European, and Turkish Syncretic
Musics, p. 72.

36Manuel, Peter: Modal Harmony in Andalusian, Eastern European, and Turkish Syncretic
Musics, p. 72.

37Manuel, Peter: Modal Harmony in Andalusian, Eastern European, and Turkish Syncretic
Musics, p. 72.

38 Jones, Dena Kay, p. 65.

10
B-E). When playing certain chords, the guitarist often sounds open strings
despite them being non-triadic. For example, when playing an Am-G-F-E
chord progression, the guitarist might play the F major with the highest two
strings unfretted resulting in an F-C-F-A-B-E voicing.39 While Andalusian
guitarists achieved this dissonant harmonic language in a somewhat
unintentional manner, Rodrigo takes the guitar’s harmonic possibilities and
explores them more deliberately. One could also argue that the prevalence
of quartal harmonies in Rodrigo’s compositional language is likely to have
been derived from standard guitar tuning which is predominantly tuned in
fourths.

Not only did Rodrigo want to incorporate the traditional music of Andalusia
into his work, he also strived to incorporate elements of seventeenth and
eighteenth century Spain and the traditional music of other parts of Spain.40
However, in his earlier years, Rodrigo seemed to resist Spanish nationalism.
His desire to align himself with the avant-garde is what kept him from fully
immersing himself in Spanish nationalism.41 Referring to himself and other
Spanish composers who found themselves dispersed around Europe during
the Spanish Civil War (1936-1939), Rodrigo wrote: “My generation was
European, a generation against this Renaissance of nationalism. The
andalucismo [that which is overtly portraying anything from Andalusia]
annoyed us.”42 However, after the Civil War, Rodrigo came to the opinion
that composers of his generation would have to make their way back to
Spanish nationalism. But while Rodrigo made a move back towards Spanish
nationalism after the war, he did not want to limit his Spanish nationalism to
the music of Andalusia.43 In 1948, Rodrigo composed a suite for his daughter

39Manuel, Peter: ‘Evolution and structure in flamenco harmony’, Current Musicology, Vol.
42 (1986), p. 51-52.

40 Jones, Dena Kay, p. 64.

41 Jones, Dena Kay, p. 135.

42 Jones, Dena Kay, p. 136.

43 Jones, Dena Kay, p. 137.

11
Cecilia entitled El Album de Cecilia in which each of the six little pieces
represents a different Spanish folklore, dance, or story.44


44 Jones, Dena Kay, p. 141.

12
 CHAPTER THREE: ANALYTICAL PREMISE
”Players should understand what they play”45

In order to provide a conceptual backdrop to this performance guide, this

chapter examines the concept of authenticity and musical awareness.

Must we consciously interpret and analyse Rodrigo’s Fandango or could we

approach the piece from the standpoint of Ravel who requested that
pianists should “just play” rather than “interpret my music”? 46 In his book,
Musical Structure and Performance, Wallace Berry, Professor of Music at the
University of British Columbia, doubts the integrity of any performance that
is not informed by analytical insight: “The purely spontaneous, unknowing
and unquestioned impulse is not enough to inspire convincing
performance.”47 Berry proposes that stylistic awareness and musical analysis
is necessary if the performer intends to realise the work in a manner that
reflects the musical intentions of the composer. In the first chapter of The
Practice of Performance: Studies in Musical interpretation, pianist and
musicologist, Roy Howat, suggests that since notation cannot avoid
distorting music, “our task is to ‘read back through’ the distortions on
paper, employing aural and visual awareness, skill and sensitivity”48. This
performance guide argues that some passages in the Fandango are not
necessarily intended to be interpreted literally as written on the page as
there are a number of stylistic considerations which cannot be captured
through notation. In order to avoid a literal realisation of the notes on the

45Lester, Joel: ‘Performance and analysis: interaction and interpretation’, The Practice of
Performance: Studies in Musical Interpretation, edited by John Rink, Cambridge University
Press, 1995, p. 197.

46 Howat, Roy: ‘What do we perform?’ The Practice of Performance: Studies in Musical

Interpretation, edited by John Rink, Cambridge University Press, 1995, p. 3.

47Berry, Wallace: Musical Structure and Performance, Yale University Press, 1989, p.
217-218.

48 Howat, Roy, p. 3.

13
page, the performer must be aware of the compositional idiom of the work.
Referring to a Hungarian stylistic rhythmic compression heard in a recording
by Béla and Ditta Bartók of the Sonata for Two Pianos and Percussion,
Howat comments: “the context alone makes the reference plain to those
familiar with the idiom; to those unfamiliar, the exact nuance is
unnotable”.49

One important consideration for the performer is the underlying motivic

connections that exist within the Fandango. There are multiple musical
ideas that run through the movement as well as two contrasting musical
styles that feature prominently in the piece. Referring to the large-scale
structure of Debussy’s Sonata for Flute, Viola and Harp, Howat argues that a
lapse of analytical awareness “results in performances that shred the
movement’s architecture.”50 This performance guide argues that the same is
true of the Fandango. In order to perform in a manner that coveys both the
contrast and the unity of the piece, the performer must be aware of the
material that recurs throughout the piece. Referring to the hidden motivic
structure in Mozart’s Sonata in C major, music scholar and violinist, Joel
Lester, explains: “Knowledge of these hidden motifs might not predispose
performers to emphasise the relevant notes, but could cause them to
conceptualise the piece as organically unified. Ignorance of these hidden
motifs results in the ever-new melodies and passagework of the exposition
being regarded as a freely associated stream of consciousness.”51 Similarly,
this dissertation argues that a performer’s ignorance of the hidden motivic
structure of the Fandango could create a sense of ever-new material that
would make the thematic architecture of the piece imperceptible to the
listener.

However, there is a limit to the extent to which the performer can, or

49 Howat, Roy, p. 13-14.

50 Howat, Roy, p. 7.

51 Lester, Joel, p. 213.

14
moreover should, meticulously analyse a work. The performer should allow
himself/herself some degree of artistic freedom lest the performance
becomes overly calculated or academic. This is especially the case with the
Fandango because it is an intrinsically virtuosic work. As Howat eloquently
proposes: “as with the painter, close work on the canvas necessitates a
balancing view from afar, eyes half closed to avoid distraction by detail.”52

This dissertation's approach to technically challenging passages involves

pragmatically balancing the need for comfortable playability with a respect
for the musical content of the work. Only by understanding the
compositional idiom of the composer can the performer make the necessary
amendments to the score’s suggested fingerings while respecting the
musical intentions of the composer. As Howat suggests, “Musical feeling also
demands that we explore what we read, question it and be prepared to
amend what does not make sense after thorough investigation and
acquaintance with that composer’s idiom.”53


52 Howat, Roy, p. 4.

53 Howat, Roy, p. 4.

15
 CHAPTER FOUR: ANALYSIS

This chapter provides an analysis of stylistic and motivic elements of the

Fandango which are necessary for a well-informed interpretation.
Noteworthy compositional features of the piece are outlined, the
implications of which are addressed in Chapter 5. Extracts from the score
are used, overlaid with annotations written in blue (for the recurring
descending motif) and red (all other noteworthy motives). Bar numbers are
written at the top left of each system.

4.1 - Stylistic analysis

The fandango is a popular Andalusian folk-song type which represents a

confluence of Andalusian Phrygian tonality and Western harmony. In a
typical fandango, there are sung verses called coplas which typically follow
a I-IV-V progression in traditional harmony. These coplas are interspersed by
instrumental falsetas often following the typical iv-III-II-I progression in the
Andalusian Phrygian mode.54 While Rodrigo’s Fandango does not follow this
structure, the movement does create a juxtaposition between traditional
classical harmony and Andalusian Phrygian harmony which is similar to the
aforementioned contrast between the copla and the falseta.

Rodrigo’s Fandango features a traditional Western classical compositional

style which, as Rodrigo himself explained, “… reflects the gallantry and
pomp of the eighteenth century in Spain and especially Madrid.”55 This is
juxtaposed against Andalusian Phrygian writing and a neoclassical use of
dissonance. The Andalusian compositional style is most evident in the
contrasting central section. Table 4.1 outlines the formal structure of the
piece providing the bar numbers for specific passages addressed in the

54Manuel, Peter: Modal Harmony in Andalusian, Eastern European, and Turkish Syncretic
Musics, p. 73.

55 Wade, Graham: Distant Sarabandes: Solo Guitar Music of Joaquín Rodrigo, p. 24.

16
analysis, the predominant style of each passage, and the keys and
significant key changes within each passage. The rest of this chapter
discusses the three sections and seven passages identified in Table 4.1.

Table 4.1 - Formal structure of Tres Piezas Españolas, mvt. 1, Fandango

Section Passage Bars Predominant Key

style

Opening Introduction / 1-3 Spanish classical E maj

section bars Theme A style
1-35
Transition 28-35 Spanish classical D maj - B minor
style and
Andalusian style

Central section Theme B first 35- 47 Andalusian style B min - A min -

bars 35-58 progression G maj - F maj -
E maj/min

Theme B second 47-58 Andalusian style A min - G min -

progression F - Eb - D maj

Closing section False Recap 59-65 Spanish classical G maj - B maj -

bars 59-102 style E maj

Sextuplet/ 66-73 Spanish classical E maj

Triplet passage style

Dominant pedal 77-94 Spanish classical A maj - F# min -

triplet passage style E maj

4.1.1 - Opening section bars 1-35

The opening section of the Fandango (b. 1-35) is built on the opening theme
(theme A, b. 1-3) and material derived from the theme. Theme A establishes
a Spanish classical style. After the first statement of the theme, there is a
decorated passage which is entirely derived from theme A (b. 5-16). Theme
A then appears in several transpositions before resolving to a contrasting
rhythmic section (b. 28-35) which represents the transition from the Spanish
classical style of the opening section to the Andalusian style of the
subsequent central section.

17
 4.1.1.1 - Theme A bars 1-3

The movement begins with the theme A in bars 1-3. Theme A begins with
four strummed chords marked fortissimo which fundamentally outline a I-I-
V-I progression. The first, second, and fourth chords are coloured by the use
of a minor second creating a quasi “wrong note”56 effect. In bars 2-3, there
is an ornate melody featuring staccato articulation which is reminiscent of
Scarlatti.57

As mentioned, the use of the dominant chord resolving to the tonic is not
common in the music of Andalusia.58 While the “wrong note” feature is
suggestive of Andalusian harmony, the dominant function and courtly melody
suggest more of a traditional classical music style.

Figure 4.1 shows Fandango theme A with the dissonant minor seconds of the
chord progression highlighted in red and the B-A-G#-F#-E fundamental line
highlighted in blue. The melody of theme A also contains a fundamental
descending line B-A-G#-F#-E (see figure 4.1). This subtle idea is used
repeatedly throughout the Fandango and is a vital component of the
architecture of the piece.

Bars 5-17: Most of the material in this passage is

derived from theme A
4 Key: Blue annotation = B-A-G#-F#-E fundamental line
Red annotation = dissonant minor second “wrong note” effect
Figure 4.1 - Fandango theme A (Bars 1-3)

7 56
Wade, Graham: Distant Sarabandes: Solo Guitar Music of Joaquín Rodrigo, p. 20.

57 Domenico Scarlatti was resident at the Spanish court in the eighteenth century - Sadie,
Stanley, The Grove Concise Dictionary of Music, 1988, Macmillan Press Ltd., London, p. 664.

58Manuel, Peter: Modal Harmony in Andalusian, Eastern European, and Turkish Syncretic
Musics, p. 72.
10
18
4.1.1.2 - Transition bars 28-35

After the first statement of theme A, there is a decorated passage which is

entirely derived from theme A (b. 5-16). Theme A then appears in several
transpositions before bar 28, at which point the theme cadences from A
major to a sudden dissonant rhythmic passage consisting of triads in quaver
and semiquaver groupings (b. 28-30). In the first phrase of the passage (b.
28 - 29), there is a G#/A dyad which functions as pedal tones adding
considerable dissonance and tension to the passage. There is a sense of D
tonality in the passage but it is obscured by the minor second dissonance. In
the second phrase of the section (b. 30), C# replaces G# as a dissonant
pedal note. This energetic passage resolves to a florid D major arpeggio in
bar 31. This is suddenly followed by the cadential motif of theme A, still in
D major but this time following an interrupted I - ii - V - vi cadence leading
to a B minor version of the rhythmic idea of bars 28 - 30. B minor is affirmed
as the new tonic in this passage with repeated B minor chords and an A#
leading note in the bass. This marks the end of the opening section and the
beginning of the central section (35-64) and the introduction of theme B
(35-39).

Figure 4.2 shows the transition section with the F#-E-G-F# progression of
bars 28-29 highlighted in red. The percussive rhythm of the energetic
passage (b. 28-30) is suggestive of Flamenco guitar playing which is
frequently highly percussive. Also, the upper line of the passage follows a
F#-E-G-F# progression in bars 28-29. This melodic idea is typical of
Andalusian music.59 This sudden change in character is the first major
suggestion of Andalusian style. However, the contrasting florid arpeggio idea
of bar 31 seems to be in line with the Spanish classical style heard
previously and may be derived from the arpeggios of bars 9 and 11. These
sudden changes of style represent a conflicted transition to the central

59Foltz, Roger Ernest: Pitch Organization in Spanish Music and Selected Late Works of
Manuel de Falla, University of Texas at Austin, 1977, p. 25.

19
section rather than a smooth transition.

28
Energetic Passage b. 28-30

Florid Arpeggio Idea

31 Energetic Passage b. 33-35

Beginning of Central Section - Theme B

34 35

Key:
37 Red annotation = F#-E-G-F# progression

Figure 4.2 - Bars 25-36: The conflicted transition from the classical style to the Andalusian
style

4.1.2 - Central section bars 35-58

The central section features a lyrical melody (Theme B) which is

accompanied by rhythmic chordal accompaniment in the bass. The theme
(b. 35-39) repeats six times at different transpositions with the melody
alternating between the upper line and the bass upon each repetition.
During the third and sixth statements of the theme the melody is
interrupted by a sudden contrasting passage (b. 44-46 and b. 56-58
respectively). These contrasting passages effectively split the six repetitions
of the theme into two groups of three (theme B first progression b. 35-48,
and theme B second progression b. 47-58). The contrasting passage of bars
56-58 resolves to theme A in G major announcing the beginning of the
closing section.

In the central section of the movement the Andalusian style is more

prominent and can be interpreted as the main style of the section. The
melody of theme B has an intrinsically Andalusian style with features that

20
are suggestive of the cante jondo singing of Andalusia. Some of the
characteristic aspects of the cante jondo include the use of the Phrygian
mode, repetition of the same pitch accompanied by higher or lower
appoggiatura, and limited melodic range.60 Figure 4.3 shows the first
statement
28 of theme B. Despite the first statement of the theme appearing
Energetic Passage b. 28-30

over B minor chordal accompaniment, if the melody were analysed in

isolation it could be interpreted as being in the Phrygian mode with a strong
focus around Florid
F#.Arpeggio
ThisIdea
applies to each of the transpositions of the theme.
Also,
31
the range of the melody is limited to a fourth and it also features
Energetic Passage b. 33-35a

repeated F# with a lower appoggiatura.

Beginning of Central Section - Theme B

34 35

37

Figure 4.3 - Bars 35-39: The first statement of theme B

4.1.2.1 - Theme B first progression bars 35-47

Theme B appears first in B minor from bars 35-39. The theme is repeated in
A minor with the melody in the bass (b. 39-43) and then begins in G major
with the melody in the upper line (b. 43). However, in bars 44-45 there is a
surprising shift through F major (b. 44) to a sudden dissonant semiquaver
passage which suggests an E major/minor mixture (b. 45-46). This dissonant
semiquaver passage is shown in figure 4.4. Thus the overall harmonic
progression of bars 35-47 can be interpreted as B min - A min - G maj - F

60 Foltz, Roger Ernest, p. 19.

21
maj - E maj/min. This progression can be understood to contain the Am-G-F-
E progression that is so common in the music of Andalusia. This is most likely
the reason that the theme music follows this progression as it is difficult to
imagine any other reason for the harmonic structure of the section. One
alternative reason for the progression may be that the B-A-G#-F#-E motif
from the beginning of the piece is being used as the basis for the harmonic
progression albeit with a G natural and an F natural.

Dissonant semiquaver passage suggesting

43
45 E major and E minor b. 45-46

46

Figure 4.4 - Bars 45-46: The sudden dissonant semiquaver passage suggesting E major and
E minor

4.1.2.2 - Theme B second progression bars 47-58

After the dissonant semiquaver passage of bars 45-46, the B theme returns
Suggestive of Andalusian D-C-Eb-D progression

in55 bar 47 in A minor with the melody in the upper line (b. 47-51). The theme
is repeated in G minor with the melody in the bass (b. 51-55) and then
begins in F major with the melody in the upper line again (b. 55). This time,
Return to Theme A - False Recapitiulation b. 59-64

in bars 56-57 there is a shift through a dissonant Eb major chord (b. 56) to a
58

rhythmic section which is tonally suggestive of a fundamental D-C-Eb-D

progression albeit greatly obscured by dissonance and missing notes. This
progression
62 is a very typical progression in Andalusian Phrygian
Return ofharmony and
Theme A in E major

mirrors the upper line heard in the melody of bars 28-30 in the transition
passage.61 The overall harmonic structure of the second progression of

61 Foltz, Roger Ernest, p. 25

22
theme B is A min - G min - F maj - Eb maj - D maj. This is the same harmonic
progression as heard in bars 35-47 but transposed down a tone. Figure 4.5
shows the typical Andalusian D-C-Eb-D progression and its resolution to
theme A.

Suggestive of Andalusian D-C-Eb-D progression

55

Return to Theme A - False Recapitiulation b. 59-64

58

62 Return of Theme A in E major

Figure 4.5 - Bars 55-61: The Andalusian D-C-Eb-D progression and its resolution to theme A

4.1.3 - Closing section bars 59-102

The closing section of the movement can be interpreted as a reprise of the

opening section but which is varied considerably. The material is derived
from the opening section of the work but is almost unidentifiable because
the melody consists mainly of flowing triplet and sextuplet semiquaver
lines. From bars 66-72, there is a triplet semiquaver passage with lines that
flurry from the highest to the lowest end of the guitar’s range. After this
passage, there is a break in the triplet and sextuplet semiquaver material
with a passage that mirrors bars 6-8 of the opening section (b. 73-75). From
bars 77-94, the music consist mainly of flowing triplet semiquaver lines
under which there is a dominant pedal bass note pulling the material
through A maj and F# min to eventually resolve to E maj. The movement
ends with the chord progression of theme A.

Stylistically, the closing section of the Fandango is more similar to that of

the opening section. The prominence of the dominant function, the
recurrence of the strummed chord motif of theme A, and the non-lyrical

23
 Dissonant semiquaver passage suggesting
43
45 E major and E minor b. 45-46
melody line are evidence of the closing section representing a reprise of the
opening section. There are few overtly Andalusian elements in the section.

4.1.3.1 - False recapitulation bars 59-65

46

After the Andalusian D-C-Eb-D progression at the end of the central section,
there is a resolution to theme A in G major (b. 58). The return of the A
theme, and the change in texture, make it clear that this is a return of the
opening material. However, the theme unexpectedly repeats in B major in
bar 61. At this point it is clear that the music has not arrived at a secure
tonic. The theme repeats in B major in a shortened form in bars 62, 63, and
64 which creates a dominant pedal effect toward E major which arrives
eventually at bar 65. The shortened statements of the theme, and the
dominant pedal effect, give this passage a sense ofof Andalusian
Suggestive dramaD-C-Eb-D
and progression
motion.
55
Figure 4.6 shows the false recapitulation section.

Return to Theme A - False Recapitiulation b. 59-64

58

62 Return of Theme A in E major

Figure 4.6 - Bars 58-65: The false recapitulation section

4.1.3.2 - Sextuplet/Triplet passage bars 66-73

Immediately after E major has been established in bars 65-66, a rising E

major arpeggio marks the beginning of an elaborate triplet semiquaver
passage from bars 66-72. At first, the triplets bear a clear resemblance to
theme A with the first note of each triplet outlining the melody of the

24
theme (b. 66-68). Figure 4.7 shows the Sextuplet/Triplet passage with the
theme A melody highlighted in Red and the B-A-G#-F#-E fundamental line
highlighted in Blue. This material can be interpreted as a decorated form of
the theme A melody. However, at bar 68 there is a rising octave scale from
G# to A in E major which leads to a sequence of four descending arpeggios in
triplet and sextuplet semiquaver groupings. Interestingly, the rising scale
contains a repeated B. The material from this point until bar 73 is not as
clearly derived from theme A. The major and minor thirds and fourths of the
arpeggios result in the harmony being difficult to interpret clearly. Instead,
the progression of the arpeggios can be more easily understood by
examining the uppermost line of the passage. If the repeated B of the rising
scale passage and the first note of each of the subsequent descending
arpeggios are examined in isolation, the line created is B-A-G#-F#-E. This
motif appears in theme A and seems to be a device used in the work to give
motivic structure to unusual harmonic progressions.

66 Sextuplet/Triplet passage bars 66-73

Rising Scale Passage b. 68 (Repeated B)

68

70

72

Key: Red annotation = melody of Theme A

Blues annotation = B-A-G#-F#-E fundamental line
Figure 4.7 - Bars 66-73: The Sextuplet/Triplet passage

78

25
4.1.3.3 - Dominant pedal triplet passage bars 77-94

In bar 77, a semiquaver motif is introduced, characterised by an alternating

fourth leap. It appears over an E pedal note in the form of three quavers.
This motif repeats one degree lower, still over the E pedal note (b. 78). The
motif suddenly shifts to a triplet semiquaver passage (b. 79) which
continues as far as bar 83 before resolving to the theme A strummed chord
motif in A major (b. 84). The E pedal note of this passage clearly functions
as a dominant pedal towards A major.

In bar 85, the alternating fourth semiquaver motif of bar 77 returns over an
A pedal note. The fourth leap occurs between E and A. As before, the motif
repeats one degree lower, with the fourth leap occurring between D and G#
(b. 86). After this, the motif appears another degree lower with the fourth
leap occurring between C# and F# but with the motif being carried by the
bass and with a pedal F# in the upper voice (b. 87-88). Finally, the motif
appears another degree lower again with the fourth leap occurring between
B and E# and this resolves to the note A (b. 88-89). When the first note of
each fourth leap motif is examined in isolation, and the final A is included,
the line created is E-D-C#-B-A. This is the fundamental line motif of theme A
but transposed down a fifth, as the section is in A major. Again this motif
seems to be used in the work to give motivic structure to unusual harmonic
progressions. Figure 4.8 shows the sequence of the alternating fourth
semiquaver motif in bars 85-89 with the E-D-C#-B-A fundamental line
highlighted in blue.

26
 84 Sequence of Alternating Fourth Semiquaver Motif (b. 85-89)

87

89

Key: Blue annotation = E-D-C#-B-A fundamental line

91
Red annotation = Relevant in a further diagram
Figure 4.8 - Bars 85-89: The sequence of the alternating fourth semiquaver motif

After
93
this progression, there is another triplet semiquaver passage which
appears over a B pedal note in the bass (b. 89-93). This section creates
tension, with the B pedal note operating as a dominant pedal towards E
major. E major eventually arrives at bar 94, with the return of theme A
repeated several times with variation. The movement ends with the four
strummed chords of theme A but with an unaltered final E major chord at
bars 101-102.

4.2 - Motivic analysis

Within the Fandango there are a number of motives that permeate the
movement and provide structure to the elaborate and florid lines.
Understanding the economic use of material in the movement is important
to exposing the structure of the piece. The melody line of theme A
reappears in a number of variations throughout the movement. The theme
appears in its original form (albeit often at different transpositions) in bars
1-4, 17-20, 22-24, 25-27, 59-64 and 97-98, but from an analytical
perspective it is more important to identify the passages that are derived

27
from theme A but which might be mistaken for new material. Figure 4.9
1

shows the passage from bars 5-17 which is closely derived from theme A.

Bars 5-17: Most of the material in this passage is

derived from theme A
4

10

13

16

Figure 4.9 - Bars 5-17: Most of the material in this passage is derived from theme A

4.2.1 - Passage from bars 5-17 derived from theme A

As already mentioned, the passage from bars 5-17 is closely derived from
theme A. Evidence of the motivic connection between the passage and
theme A lies in its use of similar range, interval content, rhythm and motivic
content. Although different in harmonic content, the opening four chords of
the passage bear a clear resemblance to the opening chords of theme A,

28
both in terms of rhythm and melody.

From this, a melody line begins in thirds over a B quaver pedal idea in the
bass (b. 6-9). While the melodic contour of this passage is different from the
melody in theme A, there are a few qualities in the passage that intrinsically
link the passage to theme A. The rhythm of the passage is identical to the
rhythm of bar 2 of theme A with two slurred semiquavers followed by four
staccato quavers. The fact that the melody is in thirds is significant because
the melody in bar 2 of theme A is based on a falling third idea. The range of
the melody is also very similar to that of theme A.

In bars 10 and 12 there is a triplet semiquaver motif. This could be

interpreted as being derived from the first three notes of bar 3 on theme A.
It could also be understood as being derived from the demisemiquaver
gesture in the last beat of theme A. The latter interpretation is further
reinforced by the semiquaver under-auxiliary idea at the end of bars 10 and
12 which is the same as the final gesture of bar 3 (4). From bars 13-16 the
upper melody is in thirds and melodically consists rising seconds and falling
thirds. Together with the staccato quavers, it is clear that this melody is
also derived from theme A.

4.2.2 - Repeated quaver bass motif

In the passage from bars 5-17 a rhythmic motif is introduced. The repeated
three quaver idea in the bass that appears first in Bar 7 is used later to
perform several compositional functions.

In bar 24 and bar 27, the three semiquaver motif appears in rising step
motion in the upper line as a counter melody to the end of theme A. The
motif then appears in the bass in bars 32-35. This use of the motif could be
interpreted as pre-establishing theme B which begins with a rising three
quaver idea. Throughout the central section, the three quaver motif appears
in descending step motion as a counter motif to theme B.

29
From bars 77-94, the three quaver motif reappears fulfilling a pedal note
function. The motif propels the upper line from E to A to B, eventually
resolving to E. This motif anchors the elaborate upper line.

4.2.3 - Melody in triplet semiquaver passages bars 79-83 and bars 89-93

One other important motivic feature of this piece is in the triplet

semiquaver passages of bars 79-83 and bars 89-93 during the closing section.
Figure 4.10 shows the triplet passages of bars 79-83 and bars 89-93. The
implied melody of the triplet passages are highlighted in red. One might
assume that these extended flowing sections are meant to be virtuosic
quasi-improvised passages. However, if the first notes of each triplet are
analysed in isolation, they are almost identical to the melody of bars 13-16
of the opening section. This is further evidence of the closing section
representing a reprise of the opening section, albeit with considerable
variation, which is important in understanding the stylistic intention of the
section.

30
 72

78

80

84 Sequence of Alternating Fourth Semiquaver Motif (b. 85-89)

82

87

Triplet passages of bars 79-83

89

91

93

Triplet passages of bars 89-39

Key: Red annotation = reminiscent of the melody of bars 13-16

Figure 4.10 - Triplet passages of bars 79-83 and bars 89-93

31
 CHAPTER FIVE: PERFORMANCE GUIDE

5.1 - Approaching the stylistic contrast

As argued in the analytical premise (Chapter 3), stylistic awareness and

musical analysis are necessary if the performer intends to realise the
Fandango such that it reflects the musical intentions of the composer. It is
clear from the stylistic analysis of the Fandango that Rodrigo intended to
evoke two different musical styles in the movement. Having established the
two distinct compositional styles of the Fandango, it is imperative that the
performer use this analytical awareness to emphasise the stylistic contrast
in the movement.

5.1.1 - Opening section bars 1-35: reflecting the Spanish classical style.

As established in Section 4.1, the opening section of the Fandango is an

example of a more traditional classical compositional style with a Spanish
flare. The opening section of the Fandango does not reflect the
compositional style of Andalusia. In order to evoke the “gallantry and pomp
of the eighteenth century in Spain”62 that Rodrigo intended for this section
of the movement, the performer must treat the opening section with the
appropriate style. For example, the opening four chords are marked
fortissimo and feature considerable dissonance in the form of minor
seconds. The performer might be tempted to emphasise the dissonance of
the chords by playing with an aggressive strumming technique. However, it
is arguable that to emphasise the dissonance would be to misinterpret the
purpose of the minor seconds: much of Rodrigo’s use of dissonance acts as
an expressive colour device and does not fulfil a tension-resolution function
as would be expected in traditional classical music. In order to effectively

62 Wade, Graham: Distant Sarabandes: Solo Guitar Music of Joaquín Rodrigo, p. 24.

32
reflect the “gallantry and pomp”63 of the theme, the opening four chords
should be strummed with a rich and full technique. Julian Bream64 and
Manuel Barrueco65 exemplify this approach in their recorded performances.
In contrast, the more aggressive approach to the opening is heard in the
recorded performances of Andrés Segovia66 and Pepe Romero67.

However, during the transition passage of bars 28-32, the performer is faced
with the collision of two contrasting styles. The compositional style of the
opening section does not transition seamlessly to the Andalusian style of the
central section. Rather, there is a conflict implicit in the music represented
by sudden alternations between the two styles. At Bar 28 there is a sudden
change in style with the introduction of a dissonant rhythmic passage. The
conflicting nature of the alternating passages is further reinforced by the
rhythmic passages being marked “energico” and the florid arpeggio passage
being marked “leggerio”. The performer must evoke the sense of conflict
that is implicit in the transition by emphasising the percussive nature of the
rhythmic passages and by emphasising the florid nature of the arpeggio
passage. In order to emphasise the percussive nature of the rhythmic
passages, the performer should play with considerable attack and with
slightly staccato articulation. The florid nature of the arpeggio passage can
be emphasised by the use of subtle rubato and legato playing. This contrast
is best exemplified by Manuel Barrueco’s performance.

63 Wade, Graham: Distant Sarabandes: Solo Guitar Music of Joaquín Rodrigo, p. 24.

64Rodrigo, Joaquín: ‘Tres Piezas Españolas, Fandango’, Concierto de Aranjuez / 3 Piezas

españolas / Fantasía para un gentilhombre / En los trigales (Bream, Brouwer, Gardiner),
Bream, Julian, guitar, Sony Classical 886444407212.

65Rodrigo, Joaquín: ‘Tres Piezas Españolas, Fandango’, 50 Best Guitar, Barrueco, Manuel,
guitar, Warner Classics - Parlophone 5099963168754.

66 Rodrigo, Joaquín: ‘Tres Piezas Españolas, Fandango’, Segovia Collection, Vol. 2 - Rodrigo,
J. / Ponce, M.M. / Castelnuovo-Tedesco, M. / Moreno Torroba, F. / Mompou, F., Segovia,
Andrés, guitar, Deutsche Grammophon 00028947754763

67Rodrigo, Joaquín: ‘Tres Piezas Españolas, Fandango’, Spanish Nights, Romero, Pepe,
guitar, Deutsche Grammophon 00028947900740

33
5.1.2 - Central section bars 35-58: evoking the mood of Andalusia

In order to complement the Andalusian style of the central section,

performers must evoke the appropriate mood in their playing. The melody
of the central section is reflective of the cante jondo style of Andalusia
which is associated with themes such as loss, anguish, despair, and death.68
In order to evoke the dramatic and sombre mood of cante jondo, the
performer should consider using legato playing and expressive vibrato.
Performers should also consider the use of subtle rubato attempt to create a
sense of improvisation in their playing to reflect the improvised nature of
the cante jondo. All of these techniques are exemplified in the
performances of Manuel Barrueco, Julian Bream, and Jerome Ducharme69.

5.1.3 - Closing section bars 59-102: return of Spanish classical style

Because the closing section of the Fandango is stylistically in line with the
opening section, the performer should again evoke the “gallantry and pomp
of the eighteenth century in Spain”70. The performer must also be aware of
the false recapitulation passage and the extended dominant pedals and
must build tension appropriately to allow for an effective resolution to the
tonic.

5.2 - Approaching the melodic and motivic content

As argued in the analytical premise (Chapter 3), in order to perform this

piece in a manner that coveys both the contrast and the unity within the
movement, the performer must be aware of the material that recurs
throughout the piece. Awareness of the recurring material should allow the

68 Oxford Music Online: Spain II - Traditional and Popular Music, (Accessed 26/2/2016).

69Rodrigo, Joaquín: ‘Tres Piezas Españolas, Fandango’, Guitar Recital: Jerome Ducharme,
Ducharme, Jerome, guitar, Naxos 8.570189 (Accessed 7 May 2016).

70Wade, Graham: Distant Sarabandes: Solo Guitar Music of Joaquín Rodrigo, GRM
Publications, 1996, p. 24.

34
performer to make subtle suggestions of the motivic structure of the piece,
thereby making the thematic architecture perceptible to the audience on a
conscious or subconscious level. Because of the subtlety required in making
these motivic suggestions, it is not within the remit of this performance
guide to explain an approach to every occurrence of underlying motivic
connections. Instead, this performance guide will address a select few
examples to illustrate an approach to creating motivic unity.

5.2.1 - Approaching the passage from bars 5-17

There are a number of ways in which the performer can emphasise the
motivic connection that exists between bars 5-17 and theme A. In bars 6-8,
the performer could consider adopting the same character and the same
degree of staccato articulation as used in bar 2. If the performer chooses to
play the sextuplet gesture of bar 3 with an expressive use of rubato
(addressed further in section 5.3.1) this could be mirrored in the triplet
semiquaver gestures of bars 10 and 12. Finally, the performer might
consider using the same strumming technique for the chords of bars 10 and
12 as used in opening chords of theme A.

5.2.2 - Emphasising the repeated quaver bass motif

The repeated quaver bass motif that is first heard in bars 6-7 is heard in
many different guises throughout the piece. If the performer wishes to
emphasise the motif in order to draw attention it, the consistent use of
subtle staccato or attack could effectively highlight the motif to the
audience.

5.2.3 - Emphasising the melody in triplet semiquaver passages bars 79-83

and 89-93

The melodic connection between the triplet semiquaver passages of bars

79-83 and bars 89-93 during the closing section and the melody of bars 13-16

35
of the opening section can only be effectively emphasised by accenting the
first note of each of the triplets and by being aware of the fundamental line
of the triplet semiquaver passages. By being aware of the fundamental line,
the performer can use a consistent phrasing technique which may subtly
portray the connection to the audience. An awareness of this motivic
structure will also allow the performer to contextualise the rather long-
winded intricate passages of the section with a sense of melodic purpose.

5.3 - Solutions to specific technical and interpretive challenges

5.3.1 - Interpreting sextuplet gesture bar 2

As argued in the analytical premise (Chapter 3), some ideas in the Fandango
may not necessarily be written literally. There may be a number of stylistic
considerations which cannot be captured through notation. Sometimes
performers must use their own artistic sensibility, together with an
understanding of the composer’s idiom, to interpret the exact nuance
intended by the composer. This performance guide argues that the sextuplet
gesture of bar 2 may not be written literally and that the performer should
manipulate the timing subtly to evoke the appropriate style. By subtly
accenting and extending the first note of the sextuplet and by rushing the
subsequent five notes, the performer can create an effect that emphasises
the courtly and light-hearted nature of the melody. This effect would be
applied to every occurrence of theme A. Many recorded performances adopt
this interpretation such as Bream and Barrueco. In many performances of
Manuel de Falla's Homenaje (Le tombeau de Debussy), the sextuplet
grouping in the piece is treated with the same nuanced rubato. However,
John Williams71 chooses to play the sextuplet with no manipulation of the
timing.

5.3.2 - Proposed fingering for consistent realisation of bars 69-73

71Rodrigo, Joaquín: ‘Tres Piezas Españolas, Fandango', John Williams Plays Rodrigo,
Williams, John, guitar, Sony Classical 5099706412922

36
While all performers should choose to adopt fingerings appropriate to their
own technique, the semiquaver sextuplet passage of bars 69-73 is so
technically demanding that it seems appropriate to propose an alternative
fingering to the Segovia edition. Also, the Segovia edition does not offer a
right hand fingering strategy. The alternative fingering strategy proposed is
only slightly different to the Segovia edition but may facilitate a more
musical realisation of the passage. This performance guide proposes that the
Segovia fingering does not allow for the use of a consistent right hand
technique and needlessly breaks timbral consistency of the line to the
detriment of the musical intentions of Rodrigo.

This performance guide advocates the use of an A-M-I right hand fingering
strategy to reinforce the sense of triplet groupings and a P-I fingering
strategy to emphasise the accented first, third, fifth notes of the sextuplet
groupings. Winner of the 2005 Guitar Foundation of America Competition,
Jerome Ducharme, proposes this fingering in a video from his “how to”
series on his YouTube channel. The video is entitled Jerome Ducharme's Tips
and Tricks Episode 1: Rodrigo's Fandango.72

In the rising scale passage of bar 68, the performance guide left hand
fingering allows the performer to play the scale without changing position
which in turn allows for a more seamless realisation of the scale. By
avoiding the use of a barré, the performance guide fingering of bar 69
means that the performer can avoid having the notes of the second beat of
the bar ring over the sextuplet. Because it is impossible to have the notes of
the second beat of the bar ring over the sextuplet in bars 70 and 71,
avoiding the effect altogether would create a more consistent realisation of
the arpeggios. In bar 71, the fingering of the second beat triplets allows for
the G# to be sounded on the G string rather than the D string. The proposed
fingering of bar 72 achieves the same effect by sounding the C# on the B

72 YouTube, https://www.youtube.com/watch?v=xL_JVhkygyM, (Accessed 7 May 2016).

37
string and the G# on the G string. By doing this, the performer can facilitate
the exact same right hand fingering for bars 69-72. This allows for a
consistent realisation of the arpeggios and also makes the section easier to
perform. One other benefit of this fingering is that there is no timbral
inconsistency in arpeggios: By sounding the triplets on the treble strings (E,
B, G) and the sextuplets on the bass strings (D, A, E) the performer can
create a consistent timbral realisation of the bars 69-72.73 If one chooses to
sound the G# of bar 71 on the D string there is a noticeable timbral
inconsistency. This is the same with the G# of bar 72. Figure 5.1 shows the
two fingering strategies.

Segovia edition

73The treble strings of a typical classical guitar are made from a single nylon filament,
while the three bass strings are made of a core of fine nylon threadlike filaments wound
with silver-plated bronze or copper wire. This results in the treble and bass strings having a
noticeably different timbre.

38
 66

XII…………………………………..
m i a m i a m i a m i a p i p i p i
68
1 2 1 1
2 3 1 3 4
1 3 4 1

70
3
4 1

72
2

Performance guide alternative fingering

Key: Blue annotation = alternative fingering strategy

Figure 5.1 - Bars 69-73: the two fingering strategies

78

5.4 - Suggested amendments to the score

5.4.1
80 - Consistency in all statements of theme A

A rather unusual feature of the Segovia edition is the inconsistency in the

chords in each statement of the A theme in E major. In the opening
statement
82
of the theme, the chords have only four notes each. However, in
the second statement of the theme in E major (b. 17), the chords have five
notes each. In the third statement of the theme in E major (b. 65), the
chords also have five notes each. From bars 94-102 the chord progressions
alternate between having four notes and having five notes. The chord in bar
99 is particularly curious because it does not contain a D#. Because there is
no clear pattern in the voicing of these chords, it seems plausible that this
is an editorial mistake.

This performance guide proposes using the five note voicing of the chords in
every statement of the theme in E major to allow for a more consistent
realisation of the theme. It is also more idiomatic of guitar playing to strum

39
five strings rather than four and the fortissimo marking can be more easily
realised with five notes.

40
 CHAPTER SIX: CONCLUSION

6.1 Summary of the dissertation findings

6.1.1 - Influence of Andalusian music

This dissertation has established that there are a number of interpretive

questions facing the performer that can be answered by understanding the
influence of Andalusian music on Rodrigo and where the influence appears
most prominently in the Fandango. By appreciating the basic nuances of the
Andalusian compositional style, the performer is able to make sense of the
overall structure and character of the Fandango.

6.1.2 - Analysis

The analysis carried out in this project has highlighted a number of features
of the work which may not be immediately obvious to the performer but
which are vitally important in creating a harmonically informed
interpretation and evoking the overall architecture of the work. By
establishing the motivic ideas that permeate the work, performers are able
to make subtle suggestions in their playing that convey the architecture of
the work to the audience.

6.1.3 - Problems in execution of the work and alternative fingerings

By proposing solutions to a few examples of difficult sections and potential

mistakes in the score, this dissertation has established a method of
approaching such challenges in a critical manner with respect to the musical
content of Rodrigo’s work.

41
6.2 Limitations of the research

There were a number of significant limitations to the research carried out in

this project

6.2.1 - Limited length of the dissertation

The maximum word-count allowance of this project has meant that some
sacrifices in detail have had to be made. This dissertation could not address
all three movements of the work. The potential contribution of the project
might have been significantly greater had analysis of the second and third
movements been included. This dissertation has attempted to convey the
most important elements of Rodrigo’s compositional style but it would have
been preferable to go into greater detail on his influences and on the music
of Andalusia. Similarly, while overly meticulous analysis of a work is not
always desirable, were it not for the maximum word-count allowance this
dissertation would have been more closely analytical.

6.2.2 - Spanish language limitation

Much literature on Rodrigo is in Spanish and translations could not be

obtained for this study. The dissertation would have been more informed if
this author was able to read in Spanish or if English translations were readily
available.

6.2.3 - Original manuscript

The only available copy of the score is the Segovia edition. An original
manuscript copy was sought during this project but was not obtainable. It is
possible that were this study carried out by an established academic, the
original manuscript could be obtained. This writer suspects that some
elements of the Segovia edition may be not have been in the original
manuscript and so it would be very informative to have the original

42
manuscript.

43
6.3 Suggestions for future research

A more in depth project of this kind on Tres Piezas Españolas which covered
all three movements would be a logical next step for future research. A
paper solely dedicated to the influence of the guitar on Rodrigo’s
compositional style would also be worthwhile.

6.4 Concluding comments

This project raises a significant question about authentic performances and

the performer’s artistic freedom.

Some of the cited performances in this dissertation were chosen because

they portray the proposed approaches outlined in the performance guide.
These approaches were informed largely by analysis but inevitably there was
a degree of subjectivity in the performance guide. An interesting element of
this project is that the favourably cited performances in the dissertation
include Julian Bream, Jermome Ducharme, and Manuel Barrueco, who are
English, French, and Cuban respectively. Performances by Spanish guitarists
were examined but they did not conform to the ideas outlined in the
performance guide. The Bream, Ducharme, and Barrueco performances
seemed to portray the logical analytical approach which was advocated in
this study while the Spanish performers seemed to play in a more expressive
and, seemingly, less disciplined manner. This raises a significant question
about authenticity: is a well-informed performance authentic? After all, the
Andalusian flamenco guitarist is often musically illiterate and learns only by
ear. In the context of Andalusian music, it seems reasonable to conclude
that a passionate performance is preferable to one which is academically
informed, whereas in Western classical music it may be argued that an
academically informed performance is preferable driven purely by passion.
Rodrigo’s Fandango is both classical and Andalusian. Thus, it is arguable that
a truly academic performance of the Fandango should comprise parts both

44
well-informed and passionate.

The fact that only the broad elements of the Andalusian style were covered
in this project means that performers can make a stylistically informed
interpretation of the work while maintaining their own personal interpretive
autonomy. For example, if the performer is of a non-Spanish heritage but is
playing a work in the Spanish style, perhaps the audience should expect to
hear a non-Spanish interpretation of the work, albeit stylistically informed
to the degree that the performer can evoke the intentions of the composer.
As with many interpretive questions, inevitably the question of authenticity
is often best answered by the performer.

45
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