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Turegano \
Torija
Manzanares .et·Re~l '. ;'.-·~,;;,':-:~•¥
.~-,i<I~
Montemayor](Romance
,>{~~
ae los Pinos)
Alcafiiz
Siguenza
Alba de Tormes
:r~
Alcazar de S~ggv.ia

revised by
Andres Seg
edited by
Jim Ferguson l
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 Castles of Spain
(Eight Short Sketches)

. . modulations, traditional and contemporary harmoni

. h elements mterestmg b ' 'bl C es, and a
Comprising Spants ' d ds Federico Moreno-Torra a s accesst e astles of Spain.
cures forms, an moo ' d db A invokes
variety of tempos, tex : bl t and present. The collection was recor e y ndres Segovia .
fhis country s no e pas d I p· . d in 1969
images bot I1 0 lb f the same name. Romance e os mos-comm1tte to tape once b ,
. l d d n his Decca a um o . h I M e,ore
an d me u e O
. h d renamed after the Spams cast e ontemayor. •
in I 96 J-was integrated mto t e set an

. . lC d . , bsequently printed scores bore the statement "revision y digitacio

But w h'le
t
Ed1tona a enc1a s su
d'd
1 . d d ·1 0
h the same degree of editoria attention an eta1 . nly four of th .
n Por
A dres Segovia "they t nots are . 1R 1 e Pieces
n . .' A d f h se only T uregano, Torija, and Manzanares e ea generally correspond t h
included fmgermg. n o t o ' (R d I p· ) h ot e
. d therefore reflect Segovia's revisions. Montemayor omance e os mos - t e only piece f
d
recor mg an . l d • ht-hand fingering-differed su bstantta · 11y from both th e 1961 recording and th °
the set to a1so me u e ng at of
1969.

A dynamic, opinionated artist, Segovia showed little reluctance to revise, or recompos_e, a c~mposition-by
. . or n ot- when he saw need for improvement. (For vanous reasons,
a gu1tanst . many. pieces m his repert01re
.
seemed to be in a state ofconsrant change, as suggested by t~; nu~~rous d1scre_panc1es between his recordings,
editions, and live performances.) But while some of Segovia s rev1s1ons go against the gram of current thought
regarding musicology and performance, the majority clearly contribute t_o a piece's musicality and/or
suitability to the instrument. Arguably, such is the case with Castles of Spam, whose revisions range from
minor, isolated changes to the substantial recomposition of passages.

This edition is based on the 1969 recording. Throughout, the original editions' notation, fingerings, and
string indications have been adhered to as much as possible, altered only when consistency warranted it. The
original performance markings are retained, but they are not necessarily reflected by Segovia's recording.

Turegano
Turegano corresponds to the recording more closely than any of the set's previously published scores.
Subtitled Serranilla (a lyric composition), it is in rondo form (ABACA), with an introduction and a coda.
The A sections, beginning at measures 10 and 62, are in E major. The B section (bar 26) moves to G major
but commences with the C major chord, and the C section (measure 78) goes to C# minor. Torroba freely
switches between single-note passages and part writing, frequently using pedal point.

On the recording, Segovia plays a bass Don measure 29's downbeat. In the original printed score, bar 34's
downbeat middle voice was shown as an A; this has been corrected to C.

Torija
Although T orija (subtitled Elegia--elegy) was edited and revised by Segovia, in places the original score
differs substantially from the recording.

In measures 8 and 24, he plays G /:;on the'third string, but the previously published version features G#, which
some players might prefer:
 The original also includes a fully notated repeat of measure 9 th h 24 h· h . .
. F h , h . . s roug , w 1c Segovia omits on the
record mg. urt ermore, m t e ongmal music bar 25's third-b t h ( b'
. d' •h , . ' ea armony too am 1guously notated to
clearly m 1cate e1t er an Italian sixth or an incomplete dom 1· t 7 h) · • d l'k h·
nan t 1s voice I e t 1s:

J
fr r r
As recorded, Torija is in ABA form with a meditative coda The A secti'ons are · D · d h B ·
.
moves to F# maior. · m maJor, an t e section

Manzanares el Real
Manzanares .el Rea~ is subtitled A la Moza Fermosa-to a beautiful maiden. The piece comprises an AA'
stru:ture (with an introduction and a coda). The previously published music was fully fingered, and, like
T uregano, closely corresponds to the recording.

There are three differences berween the recording and the original score. First, in measures 7 and 8, the
original repeated the chords on the third and sixth eighth-notes (Segovia repeats the basses) :

'I j] .,
fl
ere.

r·
II
r
Second, bar 35 in the previous edition:

., u r
Finally, the original music ended at measure 39, whereas Segovia concludes with two chords.

Montemayor
Subtitled Contemplaci6n, Segovia's 1969 version differs only slightly from that of 1961, when it was known
as Romance de los Pinos. This edition is based on the more recent recording. Strangely, the original music
was fully fingered, yet the music was unrevised.

The piece has a simple ABA form. The A sections are in the key of A major, while the B section moves to
C major.

In general, Segovia's recorded changes involve octave transpositions, the deletion or modification of bass
lines, and reharmonizations. Measure l's third-beat F# is lowered one octave. He damps the lower two voices
of the downbeat triads in measures 2, 12, and 21. Bar 3's original eighth-note bass line beginning on the "and"
of two (C#-B-A) is deleted. In measure 4, he revoices the harmonies; the fin al Em triad smoothly leads to bar
S's downbeat.
 . , the beat· here is the original version:
In measure 5, the bass Ime is on '

, h thi'rd beat Segovia creates a complete German sixth chord (D# pi.
I d' · I ·ng bar 5 s 011II tot e ' h' h ' '1 A
n b1~lpl' ahc1d 'th the sixteenth-note cum-like figure B, A, G#, A), w ic resolves to measure 6' , 'Cq,
em e 1s e w1 s second.
inversion A triad.
. (b h h 19) the original chord on the downbeat of measures 8 and 11
In the B secuon ars 8 t roug ' h . . cl B Was spelJ d
C A E {low to high). Segovia clarifies this C6/Am ambiguity wit a maior tna . arl 7's third-beattopvot
'. .' II G JI The cadences at the end of measures 17 and 18 both resolve to E major and are Ph ce
ongma y was 11• . f 18' h' d b h rygian
.m character. In 1961 Segovia played only the outer v01ces o measure st 1r - eat c ord:

JJJJ1J II

Many passages can be refingered in lower positions, but not without sacrificing tone color. TO play bar 18 ,
seventh-position E chord, stress the second-string G#, Segovia concludes with a 12-fret high-E harmonic~

Alcaiiiz
Originally published in the key of G major, Alcaiiiz (subtitled Festiva) appears '.n E major on the recording
and is the only piece of the set to be transposed to a new key, although Segovia follows the original score
relatively closely.

In bars 19 through 21 he deviates from the original's static arpeggios and features a single-note gesture inB
Phrygian. The cross-string hammer in measure 30 (D-C) is an oft-employed Segovia device.

The coda is substantially different from the original one, which is purely diatonic and chord-based. In
measures 68, 70, and 72, Segovia approaches the 3rd of the E major chord from Fx. He then chromatically
outlines an Eaug arpeggio (bars 74 and 75) that introduces the Amnschord in measure 77.

Siguenza
Straightforward, Siguenza (La lnfanta Duerme-the sleeping lnfanta) is in E minor-the set's only piece in
a minor key. The overall tonal character is modal, and the form is simple (AA').

In bar 10, the original score has D# and F# duplicated an octave higher on the fifth eighth-note and C
duplicated an octave higher on the sixth, which Segovia deletes. Segovia plays most of the bass line in
measures 13 and 14 in natural harmonics.

Measure 15 of the previous score revolves around a Daug triad but Segovia's revision is more akin to a
1

dominant 7th, whose bass steps down to bar 16's downbeat B.

The original measure 17 (the fifth eighth-note's missing natural is added):

Segovia rewrites this so that the Din the fifth eighth-note moves up to the leading-tone D#, pivoting back
co E minor.

Measure 18's third eighth-note was originally notated as G. At measure 23, the original edition duplicates
bars 7, 8, and 9. Segovia omits these, moving directly to 24, and he also omits the chord (a duplicate of the
previous harmony) on measure 30's first eighth-note. The last eighth-note of bar 30 of the previous edition
is G; Segovia plays E.

Alba de Tormes
Subtitled Trova, a love song, Alba de Tormes is structured AA'A", and is in the key ofD major.

The original measure 28:

This is fingered less awkwardly by playing Ab instead of G on the second beat.

The previous version of bar 34:

i
Segovia plays this like measure 12.

In bar 41, he slightly changes the arpeggio pattern. The original concluding chord-an awkward, unlikely
voicing-is revised to a three-note voicing and a natural harmonic.
 Alcazar de Segovia
. the set's most elaborate piece. A fantasy of sores it b .
. lamada-call to arms) is ' eg1ns in
Alcazar de Segovia (L C . /A minor and back to A
. es to A~, maior '
A ina1or and rang
. C ;;. Segovia plays A Some players may opt to restore T b
d 2 the original bass note is If• orro a's
In measures I an ' 3
second-beat harmony in bar :

. ly published score's first-beat eighth-note is E, and measure 25 h

In measures 13 and 14' th.e bprev10us . .
Segovia plays the downbeat an octave lower than ongmally written as
a da
downbeat C#· Moreover, m ar 27 26 k h' n
db II · g the sequence beginning in measure to pea on 1gh E.
rewrites the secon eat, a owm
. h F". d fE at the end ofbar40. In the first beat of measures 42 through 48, he playsfiv
Segovia c ooses tr ms tea o e
sixteenth-notes instead of the original four.

· I bl' hed score's bar 45 (Segovia plays E~ for the second-beat bass note) .
Th e previous y pu 1s

The original measure 50 has a low G for the second beat's third eighth, which Segovia omits. In bar 63, he
plays Gin the bass instead of the original C, and maintains the sequence's uniformity by omitting the original
bass notes in the second beat of measures 64. ln bar 65 he plays A~ in the bass instead of C, and omits a voice
in 67 and 68. The original's downbeat bass note was A in measure 69.

Finally, the original edition's second chord in bar 74 was identical to the first.

***
Torroba .wrote six more "cast!es "- Zafra, Redaba, Jav1er,
· ot·1te, Calatrava, and Simancas-none of wh'LCh
were .revised or. performed bYSegovia.
· Exact IYwh y T orroba selected these 14 from Spain's many cast1es
remams as elusive as the qualities he used to make up their musical pictures.

Jim Ferguson
Santa Cruz, California
1993
 7

Turegano
(Serranilla)
revised and fingered by Andr~s Segovia
edited by Jim Ferguson E Moreno-Torroba

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12
Torija
(Elegia)

cd by Andres Segovia F. Moreno-Torroba

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[I) Largo

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Exclusive wortdwlde nghts assigned to EDITORIAL CADENCIA - Madrid
©1988 assigned to JACOBO MUSIC (ASCAP)
For America, Asia, Oceania, Africa, England, and British Commonwealth.
Print rights for North and South America assigned to
GUITAR SOLO PUBLICATIONS (ASCAP) - San Francisco
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14 Manzanares el Real
(A la Mo(i'.a Fermosa)
:md finb>t'red by AnJf'Cs Scbiovin
rt\1isc<l
mmscribcd and edited h\' Jim Ferguson
F. Moreno-1:
Allegretto vivace (J. =69) Otroba

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16
Montemayor
. ed b Andres Segovia
rcv1s Y ed b Jim Ferguson
(Romance de los Pinos)
transcribed, edited, and finger y F. Moreno-Torroba
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Exclusive wondwide rights assigned to EDITORIAL CADENCIA • Madrid
©1988 assigned to JACOBO MUSIC (ASCAP)
For America, Asia, Oceania, Africa, England, and British Commonwealth.
Print rights for North and South America assigned to
GUITAR SOLO PUBLICATIONS (ASCAP) • San Francisco
GSP-74
 Alcafiiz 17

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F. Moreno-Torroba
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<01988 assigned to JACOBO MUSIC (ASCAP)
For America, Asia, Oceania, Africa, England, and British Commonwealth.
Print rights for North and South America assigned to
GUITAR SOLO PUBLICATIONS (ASCAP). San Francisco
GSP-74
 23

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24
Alcazar de Segovia
(Llamada)
revised by Andr~s Segovia
transcribed, edited, and fingered by Jim Ferguson
F. Moreno-Torroba
[Il Allegro moderato <J.z 72)

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For America, Asia, Oceania, Africa, England, and British Commonwealth.
Print rights for North and South America assigned lo
GUITAR SOLO PUBLICATIONS (ASCAP) - San Francisco GSP-74
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IV. - - - 7 ¢11 ¢IV_ _ _ - 7 VIII - - - -

Ifill ¢V - - - - 7 ¢II - - - 7 7

f1,1 •• i i ..i i= I .f i f .~ i(
0

I
f i r i 0
r i r i @ r

Of. cresc.

¢11 - - - - - - - 7 ¢VII - - 1 ¢v - - 7
ITT)

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If ~I~!. r
o:l s

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f
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GSP-74