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Luis T. Romero
Luis T. Romero's parents emigrated from Spain. Luis was born in San Luis Obispo, California, in 1854.
While quite young, he had learned and played the guitar. Eventually, he moved to Los Angeles and
continued his studies with Miguel S. Arrevalo. Later, he moved to San Jose, California, performed and
taught guitar, and began to publish numerous works.
He then moved to Boston and continued his teaching practice while establishing his performance career
and published many of his original and arranged works for guitar. He died in Boston on November 19,
1893.
Source: Amaranth Publishing.com
Walter Jacobs
Walter Jacobs was a music publisher, guitarist, and composer in Boston. He published The Cadenza, a
lengthy monthly publication "issued in the interest of the mandolin, banjo, and guitar," containing
numerous articles (including a guitar technique column by William Foden), sheet music, advertisements,
and current news of the day. In addition, he published a collection of his own music, The Guitar Soloist,
A Collection from the Classics Arranged for Guitar, in three volumes. His arrangement of "La Paloma" is
from Volume 1. Jacobs was born in Oberlin, Ohio, in 1868 and heard a guitar for the first time at the age
of thirteen. After working for a time on a Texas ranch and traveling through Europe, he settled in Boston
in 1894.
Source:
AmaranthPublishing.com
Peter Danner, Soundboard Scholar, Guitar Foundation of America, "The Guitar in America as Mirrored in
Cadenza (1894-1924)
66
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Page 1 of 15
LA PALOMA (The Dove) by Sebastián Yradier
The Guitar Arrangements of "La Paloma"
Francisco Tárrega's arrangement serves as the basis for most arrangements for guitar. They are in the key of D major
and use a drop-D tuning.
Guitarist Francisco Tárrega
"La Paloma" arranged by Francisco Tárrega, page 1
Page 2 of 15
Pepe Romero's version is almost identical to Tárrega's except for a few corrections, minor alterations, and fingering
changes.
Guitarist Pepe Romero
"La Paloma" arranged by Pepe Romero, page 1
However, a few arrangements are in the key of A major in standard tuning, such as the two I included here in the La
Paloma Free Sheet Music Package by Luis T. Romero (1889) and Walter Jacobs (1895.
Page 3 of 15
Cover of "Arrangements for Guitar" by Luis T. Romero
Cover of "The Guitar Soloist" by Walter Jacobs
These versions preserve the constant habanera rhythm present in the original song, which the arrangements in D major
do not.
Page 4 of 15
"La Paloma" in the key of A major, arranged for guitar by Luis T. Romero, page 1
Page 5 of 15
"La Paloma" in the key of A major, arranged for guitar by Walter Jacobs
Page 6 of 15
The handwritten autograph manuscript by Francisco Tárrega in the La Paloma Free Sheet Music Package is from The
Tárrega-Leckie Guitar Manuscripts.
Autograph manuscript of "La Paloma" arranged by Francisco Tárrega, page 1
Tárrega wrote out his "La Paloma" arrangement for Dr. Walter Leckie (a student and close friend of Tárrega) during a
visit to the Leckie's home in Nice on August 2, 1894. The notations in red ink are by Dr. Leckie. You can read the
fascinating history of Tárrega and Leckie and drool over Tárrega's handwritten manuscripts in two superbly-produced
volumes by Brian Whitehouse. They are very expensive but worth every penny.
Page 7 of 15
1. Dr. Walter Leckie & Don Francisco Tárrega (The unlikely tale of an English Gentleman and a Spanish Guitarist)
https://www.classicalguitar.co.uk/shop/dr-walter-leckie-don-francisco-tarrega/
Page 8 of 15
2. The Tárrega-Leckie Guitar Manuscripts—Lessons with the Maestro
https://www.classicalguitar.co.uk/shop/the-tarrega-leckie-guitar-manuscripts-lessons-with-the-maestro/
Page 9 of 15
The Story Behind "La Paloma" (The Dove)
"La Paloma" (The Dove) is a popular Spanish song produced and reinterpreted in diverse cultures, settings,
arrangements, and recordings over the last 140 years. Sebastián Iradier (later Yradier), a Spanish composer from the
Basque region, wrote the song in the 1850s after visiting Cuba. In 1859 it was registered at the copyright office in Madrid
as a "Cancion Americana con acompañamiento de Piano." Unfortunately, Yradier died in obscurity within a few years,
never to learn how popular his song wouldbecome.
"La Paloma" belongs to a genre of songs called "Habaneras," a musical style developed in 19th-century Spain.
Dancers and musicians performing an Habanera circa 1899
Habaneras are still present in folk songs and formal compositions, particularly in the country's Northern Basque Region
and East Coast (Catalonia and Valencia) regions. Like all habaneras, its characteristic and distinct rhythm reflects the
Page 10 of 15
fusion of the local Cuban songs that the Spanish sailors brought back from their travels to Cuba, with the rhythmic
structure of the flamenco "tanguillo gaditano" (original from Cádiz, Andalusia).
"La Paloma" quickly became popular outside of Spain, particularly in Mexico, and soon spread worldwide. In many
places, including Afghanistan, Hawaii, the Philippines, Germany, Romania, Zanzibar, and Goa, it gained the status of a
quasi-folk song. In Zanzibar, they play it at the end of weddings, in Romania at the end of funerals, in Mexico as a second
anthem, and in Germany as a sailor's lament.
We can trace the motif of "La Paloma" back to a historical event that occurred in 492 BC. The Persian fleet under
Mardonius was caught in a storm off the shore of Mount Athos and wrecked.
As you can see in the illustration above, the Greeks observed white doves escaping from the sinking Persian ships. The
event inspired the notion that such birds bring home a final message of love from a sailor lost at sea.
The lyrics of "La Paloma" reflect this message that love overcomes death and separation. The original Spanish words tell
of a Cuban sailor who laments parting from his "Guachinanga chinita" (his adorable Mexican sweetheart) and asks her to
cherish his spirit if it returns to her window as a dove. Then he fantasizes that if he does return safely, they will marry
and have seven, or even fifteen, children.
Over the years, the popularity of "La Paloma" has surged and receded periodically but never subsided. It may be
considered one of the first universal popular hits and has appealed to artists of diverse musical backgrounds. There are
more than one thousand versions of this song, and together with "Yesterday" by The Beatles, it is one of the most-
recorded songs in the history of music. "La Paloma" is undoubtedly the most-recorded Spanish song.
Page 11 of 15
Opera singers, pop singers, jazz musicians, rock artists, and folk artists recorded the song in more than 50 languages.
One of the most famous renditions was by country music singer Marty Robbins. Even Elvis Presley sang a revamped
version with new lyrics in his movie Blue Hawaii.
The song entered the Guinness Book of World Records when sung by the world's largest choir, 88,600 people, in
Hamburg on May 9, 2004.
Sebastián Yradier, The Man Who Wrote "La Paloma"
Sebastián Iradier Salaverri (Salaberri) (January 20, 1809 to December 6, 1865), or Sebastián Yradier, was a Spanish
Basque composer.
Yradier has gone down in history as one of a very few Basque composers of note. He was born in the Basque town of
Lanciego in the province of Álava. He was appointed organist first of San Miguel Arcángel in Vitoria (1825) and then of
San Juan Bautista, Salvatierra (1827), which he won through competition, gaining "marks in excess of highest quality" in
sight-reading, prepared works, and accompaniment. He received a leave of absence of three or four months from San
Juan Bautista in July 1833 but never returned. In 1839 he was appointed to teach solfège at the Madrid Conservatory, a
post he held until 1851.
In Madrid, he collaborated on various theatrical works. In 1847 he collaborated with Cristóbal Oudrid and Luis Cepeda in
the production of the zarzuela La pradera del Canal. In Paris, in 1855, he taught singing to the Spanish-born Empress
Eugénie. On a trip to Cuba, Yradier discovered the rhythm of the habanera. His Spanish songs, many exploiting the
Cuban habanera rhythm, became immensely successful in both Europe and the Americas and were performed by such
famous singers as Viardot and Patti. Fleurs d'Espagne, a collection of 25 of Iradier's most popular songs with French
lyrics, was published in Paris in 1864. La Paloma (Madrid, 1859, Paris, 1864) remains perhaps the most famous Spanish
song ever written.
Page 12 of 15
His given name was Iradier, and he changed it at the request of a French publisher who sought to internationalize him.
Unfortunately, as is the case with many Spanish composers, the work of Yradier has yet to submit itself to diligent
scholarship, and the extent of his output is not known.
The melody of one of Yradier's songs, "El Arreglito," was a source of inspiration for Georges Bizet. Bizet re-arranged it
(he copied the theme, almost verbatim) as the aria "L'amour est un oiseau rebelle," also known as "Habanera" for his
opera "Carmen." When he discovered his mistake, Bizet added a note to the opera's vocal score, acknowledging its
source.
Yradier died in obscurity in Vitoria-Gasteiz in 1865 at the age of 56.
Sources:
Slonimsky, Nicolas (1978). "Yradier, Sebastian." Baker's Biographical Dictionary of Musicians (6th ed.). New York:
Schirmer Books. p. 1929. ISBN 0-02-870240-9.
Grove Music Online
PEPE ROMERO
Guitarist Pepe Romero
Pepe Romero is the second son of "The Royal Family of the Guitar," The Romeros. His father, the legendary Celedonio
Romero, was his only guitar teacher. His first professional appearance was in a shared concert with his father when Pepe
was only seven years old.
Page 13 of 15
Pepe was born in Málaga, Spain, in 1944. In those days, following the devastating Spanish Civil War (1936-39) and during
the Second World War, Spain was in desperate economic straits. Basic survival was the primary challenge. Yet, despite
this, Celedonio Romero and his remarkable wife, Angelita, instilled in all three of their children a love of music that
transcended the profound misery surrounding them.
By age seven, Pepe set foot on the concert stage for the first time at the Teatro Lope de Vega in Sevilla. And now, more
than seventy years later, he continues to mesmerize audiences throughout the world.
His contributions to the field of the classical guitar have inspired many distinguished composers to write works
specifically for him, including Joaquín Rodrigo, Federico Moreno Torroba, Rev. Francisco de Madina, Lorenzo Palomo,
and Celedonio Romero. With his father and brothers, Pepe Romero helped establish The Romeros Quartet as a leading
classical guitar ensemble worldwide.
As a member of The Romeros, he has been invited to play at the White House, has performed at the Vatican for Pope
John Paul II, and has performed for His Royal Highness Prince Charles, Prince of Wales, King Juan Carlos I, and Queen
Sophía of Spain, and Queen Beatrice of Holland. As a soloist, Mr. Romero has appeared in the United States with the
Philadelphia, Cleveland, Chicago, Houston, Pittsburgh, Boston, San Francisco, and Dallas Symphony Orchestras, as well
as the Orpheus Chamber Orchestra, the New York and Los Angeles Philharmonic Orchestras, the Boston Pops Orchestra
and the London Symphony.
He has been a special guest at the Salzburg, Israel, Schleswig-Holstein, Menuhin, Osaka, Granada, Istanbul, Ravinia,
Garden State, Hollywood Bowl, Blossom, Wolf Trap, and Saratoga music festivals.
Furthermore, his Majesty King Juan Carlos I of Spain knighted Pepe Romero and his brothers, Celin and Angel, into the
Order of "Isabel la Catolica."
More below…
Page 14 of 15
The Lyrics to "La Paloma"
There are several different versions of the English lyrics. See the PDFs of the vocal-piano scores.
Here are the Spanish lyrics:
Verse #1:
Cuando salí de la Habana
¡Válgame Dios!
Nadie me ha visto salir
Page 15 of 15
Si no fui yo.
Y una linda Guachinanga
Allá voy yo.
Que se vino tras de mí,
que sí, señor.
Refrain:
Si a tu ventana llega una paloma,
Trátala concariño que es mi persona.
Cuéntale tus amores, bien de mi vida,
Corónala de flores que es cosa mía.
Ay, chinita que sí!
Ay, que dame tu amor!
Ay, que vente conmigo, chinita,
A donde vivo yo!
Verse #2:
El día que nos casemos ¡Válgame Dios!
En la semana que hay ir Me hace reir
Desde la Iglesia juntitos, Que sí señor,
Nos iremos a dormir, Allá voy yo.
Refrain
Verse #3:
Cuando el curita nos eche La bendición
En la Iglesia Catedral, Allá voy yo
Yo te daré la manita Con mucho amor
Y el cura dos hisopazos Que sí señor.
Refrain
Verse #4:
Cuando haya pasado tiempo ¡Válgame Dios!
De que estemos casaditos Pues sí señor,
Lo menos tendremos siete Y que furor!
O quince guachinanguitos Allá voy yo.
Refrain
Guitar strings are indicated by circled Arabic numbers:
=1st or high‐E string (thinnest string)
=2nd or B string
=3rd or G string
=4th or D string
=5th or A string
=6th or low‐E string (thickest string)
LEFT‐HAND FINGER NOTATION
Left-hand fingers are indicated by plain Arabic numbers:
1=index finger
2=middle finger
3=ring finger
4=little finger
0=open string
4
3
2
0
1 1=index finger plays C
4=little finger plays G
3=ring finger plays low C
2=middle finger plays E
0=third‐string G is open
NOTATION KEY
RIGHT ‐HAND FINGER NOTATION
Right-hand fingers are indicated by lower-case letters:
p=thumb
i=index finger
m=middle finger
a=ring finger
c=little finger (seldom used)
Thumb ( p )
plucks 6th string
Index finger ( i )
plucks 3rd string
p
Middle finger ( m )
plucks 2nd string
i m
Ring finger ( a )
plucks 1st string
a
Below, are the same two chords, but played on different sets of strings:
GUITAR STRING NOTATION
B is on 3rd string
E is on 4th string
G is on 1st string G is on 2nd string
E is on 5th string
B is on 4th string
BAR (Barre) NOTATION
A full bar (bar all six strings) is indicated by a plain Roman numeral.
A dashed line after the Roman numeral indicates how long to hold the bar.
Bar all six strings
at the third fret.
1
1
2
4
3
1
I I I
A dashed line following the Roman numeral indicates how long to hold the bar:
1
I I I
1
3
2
1
1
2
4
1
Bars of fewer than 6 strings are indicated with a Roman numeral PLUS a circled number
at the upper right corner of the Roman numeral that indicates how many strings to bar.
A dashed line after the Roman numeral indicates how long to hold the bar.
Bar two strings
at the first fret.
(F major chord)
I
3
0
3
1
4
2
3
1
(D minor chord)
V
Bar five strings
at the fifth fret.
1
2
0
1
(D major chord)
Bar three strings
at the second fret.
I I
0
0
0
Place a bar at the second
fret with the first finger.
HARMONIC NOTATION
1
1
1
0
Partial bars are bars used to hold a particular group of strings.
They are notated by a Roman numeral indicating the fret to be
barred and a group of circled numbers at the upper right corner
of the Roman numeral that indicate which strings are to be barred.
A dashed line following the Roman numeral indicates how long to hold the bar:
For complete information on harmonic notation and execution, see my Technique Tips:
1. How to Read Harmonic Notation:
https://douglasniedt.com/Tech_Tip_How_To_Read_Harmonic_Notation.html
2. Harmonics: https://douglasniedt.com/Tech_Tip_Harmonics.html
II
0
Only bar the 3rd,
4th, and 5th strings.
Place a bar at the second
fret with the first finger.
2
0
1
0
1
Only bar the 3rd
and 4th strings.
I I
2
https://douglasniedt.com/Tech_Tip_How_To_Read_Harmonic_Notation.html
https://douglasniedt.com/Tech_Tip_Harmonics.html
LA PALOMA SHEET MUSIC PACKAGE, edited by Douglas Niedt
1. La Paloma—Standard Notation
2. La-Paloma-Standard-Notation-Plus-TAB
3. La-Paloma-TAB-Only
4. La Paloma—Arranged by Francisco Tárrega from The Early Spanish Editions
5. La Paloma—Autograph Score of Francisco Tárrega arrangement
6. La Paloma—Arranged by Luis T. Romero in the Key of A Major
7. La Paloma—Arranged by Walter Jacobs in the Key of A Major
8. La Colombe (Paloma)—Vocal-Piano Score, English lyrics by Henry G. Chapman, 1910
9. La Paloma—Vocal-Piano Score, English version by H. Millard, 1885
10. La Paloma—Vocal-Piano Score, Lyrics by L. C. Elson, 1878
11. La Paloma Background Info
The Guitar Arrangements of "La Paloma"
The Story Behind "La Paloma" (The Dove)
Sebastián Yradier, The Man Who Wrote "La Paloma"
Pepe Romero Biography
The Lyrics to "La Paloma"
12. Notation Key 2.0.pdf