JOSÉ RAMÓN NADAL GUTIÉRREZ 1955
TRADITIONAL VENEZUELAN MELODIES and more… Transcript, Arranged and Adapted (Free Version) for TREBLE RECORDER
Songbook Nº 1
Villa de Cura, 2009
FOREWORDS
In our country - I mean Venezuela - the recorder has been always seen “for school purpose only” and rarely has been used such a real musical instrument so no one would ever dared to record a C.D. playing music with this instrument and the truth is that it really demands a serious technique to master it well, but in our country no one cares about it. In my little hometown live a swiss family whose member play the recorder and they have showed me a lot about the swiss culture so I’m aware that in Switzerland the reality is different from ours and there you really care about developing skills in the playing of recorder using thoughtful techniques. That’s why I made this songbook; to share it with you all and I hope you really like it and enjoy it playing it whole thru. If you do it, I’ll feel that there’s no frontier that the recorder cannot cross bringing and carrying melodies from all over the world in fact. Each one of these compositions has been selected from the traditional Venezuelan melodies and rhythms for its musical and technical value. Some of them were, adapted or arranged by me to be played on Alt-Recorder as a soloist but some others were only transcript from the original for the same purpose. Some of the pieces were originally composed to be played on other instrument such as transversal flute solo; that is the case of “ Solo de Pajarillo”, ”Sola” by the maestro Omar Acosta and his arrange of the Cuban Son of Ernesto Lecuona “ La Comparsa” . Here I only make a free version of these arranges trying to keep its virtuosic musical challenges, although the originals have further virtuosic demands. I even dared to make free versions of two pieces which are truly Venezuelan classical guitar masterpieces “El Marabino and Vals Venezolano Nº 3 “Natalia”; both of them by Antonio Lauro. Actually, bearing in mind that the recorder is only a melodic instrument, the second one requires a thoughtful approach and keen sense of timing and expression to capture the dramatic shadings of the melodies and accompaniments at the same time, turning the recorder into a “harmonic” instrument during its performance. The other pieces included in this notebook are merely transcriptions of folkloric melodies, some are not technically virtuosic works but others have full range of tone colors and dynamic possibilities so they demand special care.
JRNG José Ramón Nadal Gutiérrez
[email protected]
CONTENTS
Venezuelan Melodies
1. Adiós ………………………………..………………..………....Ángel Briceño 2. Admiración………………………………………………….….Luis Laguna 3. Amalia……….......................................................Francisco de Paula Aguirre 4. Atardecer…………………………………………………..……Luis Laguna/Lencho amaro 5. Bambuco……………………………………………….………..Aquiles Báez 6. Conde a Principal…………………………………………....Aldemaro Romero 7. El Cruzao……………………………………….………………...Ricardo Sandoval 8. El Diablo Suelto………………………………………..…….…Heraclio Fernández. 9. El Marabino……(Flauta Solo)…...…......................Antonio Lauro 10. El Saltarín ...........................................................Luis Laguna 11. El Sinvergüenza………………….……………………….…...José Antonio Naranjo 12. Juramento……………………………………………….……….José Antonio López 13. La Reina……………………………………………………………..Amable Torres 14. Los Potes de San Andrés…………………………………….Trinidad Rosales 15. Por estos rincones …………………………………………..…Cristóbal Soto 16. Sola………………………………………….. (Flauta Solo)…..Omar Acosta. 17. Solo de Pajarillo……………………..… (Flauta Solo)…..Omar Acosta. 18. Villa de Cura ........................................................V. Oliveros 19. Vals Venezolano Nº 3 “Natalia”…(Flauta Solo)…..Antonio Lauro Cuban Melodies 20. Mambo –Middle……………………………………………… Dámaso Pérez Prado 21. La Comparsa………………………………………………….…..Ernesto Lecuona
JRNG
All the parts of this publication may be reproduced in any form or by any means without the prior written permission or my person. So share it and enjoy it.
