Folias

Gaspar Sanz (1740 – 1710)

Transcribed for Ukulele, low 4th, from the orginal tablature for Baroque guitar

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1 2 3 4 5
A 1 0 0. 0 1 0. 1-3 1.
E 3 3 2-3 2. 0 2 3 3 1 1.
C 2. 5. 0 2
G 0. 0. 3

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6 7 8 9 10
0-1 0. 1. 0-1 0. 1 0 0.
T 3 1 3 2. 0 3 3 2-3 2. 0 2
A
B 5. 5 3 2. 2 2.
0 0.

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11 12 13 14 15
0 1 0-1 0. 1. 0. 1 1
T 3 3 1 1. 3 1 3 3 2
A
B 5. 0 2 5. 2
0. 3 0

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16 17 18 19
1 5 3 1 0 0 1 5 3 0
T 3 3 5 3 2-3 2 6 5 3 1 3
A
B 5 3 2. 2 4
0. 0. 0-2 0.

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 Folias - Gaspar Sanz (1740 – 1710)

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20 21 22 23 24
0-1 0 3 1 0 5 3 1 0-1 0 1 0 0 0 5 3 1 0
T 1. 3 3 1 3 1 3
A
B 5. 3 2.
3 2 0 0.

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25 26 27 28 29
0 1 0 0-1 0. 5 3 1
T 1 3 2-3 2. 3 5 3 1.
A
B 3 2 2 0 5 4 0
0. 3 2 0. 3 2 0 3 2 0

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30
3 1 0
31
3
32 33 / 0-1 0
34
0-1 0
T 3 1 3 2 3. 3 2 3
A
B 3 3 2 2 4
0. 0.

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35 / 0 1
36
0 3
37 / 5
38
0 3
39 / 0 1
T 3 3 6 3 3 6 3
A
B 5 5
0. 3. 0.

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 Folias - Gaspar Sanz (1740 – 1710)

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40
0-1 0
41 / 0
42
0-1 0
43 / 1
44
0 3
T 0 2 3 3 2 3 3 3 6
A
B 2 2 4 5
0. 0.

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45 / 5
46 47 / 0
48
1.
49
1 0 0 1
T 3 0 0 2 3 2 3. 3 3
A
B 0 2 2.
3. 0. 0.

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50 51 52 53
0 0 0 1 3 0 3 1 0 5.
T 2 0 2 3 2 3 2 3 3 1 6 5 3 5 6 3
A
B 2. 5.
0.

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54 55 56 57
3 1 0 1 3 0 1 0 0 1 0. 1 0 0 1
T 3 3 2 0 0 2 3 3
A
B 2 2 2
2. 0. 0.

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 Folias - Gaspar Sanz (1740 – 1710)

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58 59 60 61
0. 0 1 3 0 3 1 0 5.
T 2 0 0 2 3 2 3 3 1
A
B 2 2 2 5.
0. 3 2 0 2 3 0

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62 63 64
3 1 0 1 3 0 0 0 1.
T 2 3 2 3 2 3.
A
B 2
2. 0.

SOURCE
L I B R O S E G U N D O, DE CIFRAS SOBRE LA GVITARRA ESPAÑOLA, CON ARTE NUEVO PARA APRENDER A TAÑERLA Sin Maestro, con gran
facilidad. ENSEÑA TODOS LOS SONES DE PUNTEADO MAS PRINCIPALES que se tañen en España, con la disposicion siguiente (1675)
Tomo 2, Lamina 3
TRANSCRIPTION: http://www.free-scores.com/partitions_telecharger.php?partition=64567 (p 4)
FACSIMILE: http://purl.pt/17285/4/m-871-p_PDF/m-871-p_PDF_24-C-R0150/m-871-p_0000_capa-capa_t24-C-R0150.pdf

TRANSCRIPTION NOTES
Sanz’ Baroque guitar was tuned rather like the modern guitar, but with the 4th and 5 courses (of paired strings) an octave higher – the re-entrant tuning.
This means that there wasn’t really a bass line: but, looking at the original tabs, the notation for the lower strings often gives the impression of a base line.
This transcription is an experiment to see what happens when, where appropriate, they are treated as such – as if this were a piece for lute or vihuela.
In other places, the lower strings obviously contribute to the melody line. It was a peculiarity of Sanz’ tuning that the third course might have a
“requinta” string an octave higher than its “normal” partner, which could be preferentially plucked when contributing to the melody. All very confusing,
and lots of scope for interpretation.
The tuning provides the opportunity for “campanella” playing, where successive notes are played on different strings and held down. Sanz used this
approach in some places, but certainly not throught the piece, where a line of notes is played on a single string. You will see that I have tried to set some
campanella-style passages where they fit the ukulele, but they are not necessarily where the composer put his!
Section A is set in “lute style”. In section B, the first 8 bars show the “high voice” option, the second 8 bars the “low voice” option. Section C emphasises
the campanella style, so disregard the shown note lengths and hold them for as long as possible. In section D, bar 53 is set high and bar 56 low.
Interpretation of graces follows James Tyler, p. 32. They may be omitted if desired.

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