Hi, so I'm playing Asturias (Segovia's guitar arrangement) and got to a part where I could not understand the phrasing...

It's in the 2nd section, here I'll underline the phrases I'm talking about:

It just seems like he cut off a phrase in the middle of it and started another one; and before the period could end he cut another phrase too (and it happens later too)
It happened to me in another song by another artist; so maybe it has a special meaning or it's just a convention or something?

(That is a music sheet I downloaded so I could point the phrases out, I'm actually playing from another one, has more fancy writing and stuff)
Last edited by gonzaw at Jul 24, 2010,
first of all its albeniz!!!! and just play it the way it is written or ask your teacher about it. if you dont have a teacher go watch videos of john williams playing it to get an idea of how he plays it.
Classical Guitarist
Quote by gonzaw
Well, yeah, I got the names wrong

The problem is not how to play it, the problem is that I don't understand the reason behind it.

because albeniz wrote it that way.. its a simple answer.
Classical Guitarist
Quote by gonzaw
That's not helpful, that's a tautology.

well why dont you just ask him yourself then! cause only he knows!!
Classical Guitarist
Discounting the first couple measures, it's A B A' C form.

I don't see what's so hard about it, honestly. That's one of the most common forms.

I can pretty much guarantee that he didn't sit down and go "I'm going to use this form so I can achieve this effect". Who knows? he might have been introducing another melody that'll occur later in the piece (I haven't heard it in awhile, so I can't really tell you).

I don't remember the actual name of it though (anything but Concerto, Fugue, Sonata and a couple others I cba to memorize right now).
The first phrase is completed. It resolves to the I from the VIIsus2 in the last two measures in it, moving to the parallel major. This is an Imperfect Authentic Cadence (a VERY unfinished feel, but definitely finished).

The second phrase ends with a iio - #ivo. This could also be notated as iio - viio/V - V in E Minor. The phrase ends right where the third one begins, using the first chord as it's resolution.

3rd phrase is just a transitional thing it looks like. Going from a C Tetrachord to a B Major. No real phrase here though, just a bunch of V's. Though one could argue that he uses the B Major to move into the G smoothly. The F# and D# would allow this easily.

The fourth phrase uses the #ivo - V (or viio/V - V) motion once again going from the & of 3 to the next bar. It then all comes together (the series of weak cadences) and ends on an interesting Imperfect Authentic Cadence in B Major, hinting that it'll be going back to E Minor.

Honestly, I think to get a real analysis of it we'll have to find the piano sheet music and analyze that. The problem with guitar sheet music is you have to take out some notes that are important to the chord.

After listening to the piano version of it, I hear what you're saying about the phrases seeming unfinished (at least that overactive third one), but they're definitely finished... in an unfinished kinda way And I would argue that this is common to do. It just creates a lot of tension and listener interest.

This is just my interpretation of what's happening here... many things could be said though.
Last edited by DiminishedFifth at Jul 25, 2010,
Yeah I can of get what you are saying; it just feels so unconventional. The resolution appears to be the beginning of a new phrase while in fact it was the continuation of the last one (first case), and when the resolution appears to be a continuation of the last one it is in fact the beginning of a new phrase (second one)...

Hell it's so confusing