This ubiquitous Mexican song takes the form of a copla. Having Spanish roots, the copla is also frequently adapted by many Latin American composers. Like many old popular Mexican songs, this copla exists in many versions often giving different meanings to the lyrics. Legend and tradition suggest that Quirino Mendoza Cortés was thinking of the story of “Cielito lindo” (roughly “heavenly sweet one”) set in the Sierra Morena mountains. The hills were said to be full of outlaws. The composer refers to “contraband” that was smuggled out of the hands of armed bandits, which turns out to be the beautiful young “Cielito lindo.” The protagonist of the song describes her as having dark, flashing eyes and little mole close to her lips. He asks her not to give the little beauty mark to anyone else, claiming it (and the rest of Cielito lindo) as his own.
This arrangement maintains some of the traditional Mariachi flavor commonly associated with the original while making use of classical technique and style.
Guitar 1 is entirely in 9th position. This part is an excellent first look into upper position reading because it doesn’t require any shifts. Notice that several E notes are fingered on string 1 open. Ask students to employ a campanella style in these instances, allowing the pitch preceding and/or after the open E to overlap. Ask students to find other places in which they can allow notes to overlap (m.9 is an example- the A and the F# can overlap). Also ask students how this campanella effect sounds (the most obvious effect is legato).
Guitar 2 features pimi arpeggios. Ask students to explain how the included chord charts show the notes in a different way. The charts are made purposefully excluding left hand finger numbers. Ask students to use the musical notation to decipher which fingers should be used. Also ask them to find one or more other fingering possibilities for a given chart. Are there fingerings that feel easier? If so, what effect does that have on the surrounding music?
Guitar 3 plays the bass line. Students will already be able to read these notes in first position by now. Notice that this fingering is in second position. This provides the option to play some notes that are found on open strings to be fretted. Ask students if fretting those notes makes any difference in sound. If they don’t arrive at it on their own, explain how playing those notes on frets helps with damping (not allowing notes to overlap). Also include the idea of exploring vibrato in these cases.
About the arranger:
Born in Istanbul, Turkey, Kaya began his interest in classical guitar at the age of six with his father, Dr. Mehmet Refik Kaya. In addition to winning many major classical guitar competitions, earning Masters and Doctorate degrees from prestigious Universities, and touring as a concert soloist, Kaya is a prolific composer. He has written and published music for solo guitar, violin, piano, string trio and many other combinations of performers. Learn more at celilrefikkaya.com.