Rumores de la Caleta: mastering the main riff

Picking up where I left off last time, we are now at the grouping of three triplets which is the riff that causes many people to learn the piece. It also causes several to stop learning the piece. When I first began learning the piece, I played this measure by plucking the beginning of each triplet with the thumb. As written, the last triplet is slurred right after the second rather than plucked. This proved adequate until I played the piece at faster tempos.

My final solution was just to play it as written and slur the third triplet from the second triplet. Position of the left hand is critical to having success with this technique. Make sure your fretting hand is either parallel with the neck or that the pinky side of the fretting hand is higher than the thumb side of the fretting hand. If the thumb side of the fretting hand is higher than the pinky side of the hand, you're going to have trouble slurring the last set of triplets because you just can't get the pinky in position.

Another solution is to incorporate the third string instead of just the fourth and fifth strings. So you would add an open G to the mix instead of fretting the G on the fourth string, fifth fret.

Rumores de la Caleta - measures 1-5

It's important to start with an understanding of the title. Rumores de la Caleta translates to Murmurs of the Inlet, so we know we're talking about water. I think the first section of the piece has everything to do with water. Many players take a macho attitude to the first section and play it too loud and too fast. Remember the title, "Murmurs of the inlet." There's a reason much of this section is designated as soft/very soft. Try to hear the waves lapping against the shore or against a boat. The figure of the arpeggiated E chord in the 2nd and 4th measures and repeated throughout the piece reminds me of gentle waves rolling into shore. Come up with your imagery and apply it to the piece.

Measures 2 and 3 are repeated at 4 and 5. Albeniz's music brings out the capabilities and sonorities of the guitar. Repeated phrases are a great way to do so - so take advantage and change the tone color of the repeated phrases.

Measures 1-5

Measure 1

I'll probably go through this piece in groups of measures for the most part but will address individual measures of Rumores de la Caleta as necessary.

The first measure is the introduction to the piece - basically an arpeggiated E chord. I address this measure individually because of the numerous interpretations that can be done with it.

1 - It can be played in an accelerando/crescendo fashion - starting from slow and soft and ending fast and loud with the speed increasing (or time between each note decreasing) and the volume increasing from note to note. This interpretation presents some technical issues - namely, getting from the E chord to the G# on the 2nd string in a legato fashion.

2 - Another interpretation is just a slow arpeggiation of the E chord leading to the G# and E and the high end with a bit of rubato for profundity. Jason Vieaux plays it this way in his recording of the piece. I tend to prefer it. Take a listen and see what you think of his choice.

Obviously, there are many other interpretations. Consider what kind of mood you want to set. Opening the piece in your particular manner will definitely affect what follows.

Rumores de la Caleta - General Comments

I thought I'd create a blog on Albeniz's Rumores de la Caleta and go measure by measure with my thoughts on playing the piece and interpretation. Hopefully, this will be helpful to those learning the piece and those seeking to perfect it. I'll be working from Jerry Willard's version contained in his Library of Guitar Classics, Volume I. Stay tuned for measure 1, soon to follow.