These are my arrangements (as PDFs) of some, mostly traditional, pieces for guitar and celtic harp. So far as I know there are no copyright difficulties but contact me if you think otherwise.



Guitar & Scottish Smallpipes

Torroba's Burgalesa in F#
Torroba's Burgalesa in F# is a funny thing. It's very difficult to play, and yet the melody is like a simple folk tune - 'Burgalesa' means 'girl from the town of Burgos'. So why F#? It's because Torroba wanted a change of key to the flattened submediant, a tonal move which appears in many of Schubert's songs. Flattened submediant!? That means that the new key is a semitone below the sixth note of the original, a tonal shift with a very moody effect. If you play around with a pencil and paper you will find that F#/D major is one of the few key pairings related in this way that are playable on guitar.
The most familiar example of this change might be Elgar's Enigma Variations. Nimrod enters in E-flat after a variation in G major with a feeling of sudden darkening - a 'drawing down of blinds'. The impact in Torroba's Burgalesa is the opposite - the flattened sixth of F# is D, but the opening tune re-stated there sounds like a sudden burst of sunshine.
For this piece to work it must flow very languidly from the guitar, and the best way to do that is to get rid of those awkward left hand stretches by setting your sixth string to F#. But there is more justification than just making life easy: if you play in F# with your sixth string on E, everything sounds acoustically dull, because you have no basses on an open string. Set the sixth to F#, you have something ringing and singing. Technically you only lose one note in one bar of the original - an E on the open sixth string because you have set it to F#. Don't worry, just play the E an octave higher.