This document provides sheet music for an arrangement of two pieces by Francisco Tarrega titled "Lagralita" and "Adelita". The arrangement was done by Nicholas James Connelly and combines elements of the two pieces in a whimsical way. Performance notes at the end suggest optional ways to play certain harmonics and emphasize that all musical markings are suggestions to be adapted by the performer.

1. Lagralita
A Whimsical Approach to Lagrima
and Adelita by Francisco Tarrega
Arr. by Nicholas James Connelly
Andante  
        
       
             
     
   
   
p   p 
7 8
  7 5   
12 11 7 10 8 8 7 0 0 7 12 11 7 10 8 8 7


8 8 7 0 8 8 7 5 8
 0   7    
9 5 8 8 9 5 8 8
7 7
0 0
0 0 7
   
                           
Rubato

8

 
        
     

 mf p
     
 
0 4 5 7 2 4 5 7 2
   

0 0 0 0 0 0 0 0 0 0 0 0 0 0

0 2 2
2 4 6 1 2 4 6 1
 
2 2 2
0
   
                         
Andante
13
          
                  
   
mf

mp
p
 9 9 11 9 11 10 9  
12 11 9 7 0 4 0 2 2 0 4 5 7 2 4 5 7
 11 9 7 9 11

0 2 4 0 0 0 0 0 0 0 0 0
   
0 
3 3 1 2
2 2 4 6 1 2 4 6
 
2 2
    
                        
20
  
      

     
    


 
mf
 3 8 7 0 2 3

2 12 0 11 0 9 2 7 0 4 0 2 2 0

0 0 0 2 0 9 10 0 2 0 4
   
0 
2 2 11 3 3 1 2
1 9 11 2
 
2 2 2
0
   rall.  
          
Andante
     
                
26

sul pont.
    
  
         
 


    

 1 0 2 0 2 0 12 8 5 7  
  
0 3 5 7 10 8 7 0 2 0
 0 
7 0 0 0 10 8 7 0 1 0 0

0  
2 0 0 8 0 2 2 0
4 2 4 7 4 7 9 10 9 9 2 4 5 2
0 2
7 0
Copyright © 1994 NJC Music

2. *        *   
2
 *     *              *

      
 
33
 
   
     

 12 11 7  10 8  8 7    10 8
f p f p f p
   
12 0
7 8 0 7 12 12 11 7
  

8 7 5 12 8 7 0 8 8 7 5
   
9 5 8 8 9 5
7 7 7
0
  poco rall.
       sul tasto
Adagio
   
39 *
    
          3     3   
      3


 8 7 
3 33 33
  0 0  0 0 0 0 0
0 0
     3
12 8 1 0 0
8 8 2 0 2 0 2 0
7 4 2 4

2
0

 
rall. Lento
      
43
  3     3     3    
    

 33  33  33    

 3 0 0 0 0  3 0 0 0 0  3 0 0 0 0  0 12

 0
0
0 
0 0 0 0
2
3 2
Performance notes:
* the harmonics at measures 33, 34, 35 and measures 37, 38, 39 can be played as follows:
Measures 33 and 37: first string 12th fret
Measures 34 and 38: fourth string seventh fret
Measures 35 and 39: second string 12th fret
** to fully appreciate this arrangement I would suggest learning both pieces individually.
All tempo and dynamic markings are simply suggestions on my part. If you are so inclined,
use your own ideas to make this your own arrangement.