About the music:
La Llorona translates to English as “The Weeping Woman” or “The Wailer.” Hispanic American folklore describes La Llorona as a ghost who roams waterfronts mourning her drowned children. There are many regional variations of the story. A typical version of the legend tells the story of a beautiful woman named Maria. She marries a rich ranchero and they eventually have two children. On one tragic day, Maria happens upon her husband with another woman. In an apoplectic fit, Maria loses control of herself and drowns the young children in a river. Feeling immediate regret, she then drowns herself, no longer able to bear the pain and guilt. The children’s spirits having moved on, Maria is denied entry into the afterlife. She is condemned to wander the land as a weeping ghost.
The exact origin of the tale is difficult to determine. Scholars find elements of this legend in Aztec, Hebrew and Greek mythology. The Mexican poet Manuel Carpio wrote the first published version of the tale in a 19th century sonnet. The various versions of La Llorona remain important in Mexican popular culture. Her story is often told as a cautionary tale to prevent children wandering after dark. In 1993 Mexico City began the tradition of a yearly riverside theatrical performance of the tale to coincide with the Day of the Dead. In the Southwestern US, adults tell the story to scare children into good behavior, often specifically to prevent the children from playing near dangerous waters. Many other similar versions exist throughout Latin America.
Guitar 1 is a level 8 part. A primary goal in reaching level 8 is the introduction of upper position reading. In this case students play in position II and position VII. To reinforce upper position reading, you may find the level 8 sight-reading packet helpful. Those materials specifically address reading in position V. Ask students how they can apply the strategies from the packet to reading in position VII. It can be immediately helpful for students to write fret numbers of “new” higher position notes. However, it may be better in the long run to reserve this strategy as a last resort.
Guitar 2 is a level 4 part. Call students’ attention to the position marker (II) in m. 7 and in subsequent sections. Upper position reading is a level 8 skill. We’ve carefully limited the use of position II for musical and technical reasons. Ask students to explain why one might choose position II in those cases. Would it be possible to play the section in position I? Which way of performing those passages feels more reliable? Some students may answer “position I.” Remind them that many skills seem difficult at first but they often quickly become easy after some study.
Guitar 3 is a level 4 part. Containing modest challenges, it can serve as a great first piece for level 3 students as they transition to level 4.
Musicality and beautiful ensemble playing are always important to teach and reinforce. In this arrangement there are many musical details to call to attention. These include articulations, dynamic changes and vibrato. In the case of vibrato, model this technique for students in several class sessions. Ask them to practice the technique as a separate drill.
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.