Lágrima (“Tear”) by Francisco Tárrega is one of the most beloved and approachable works in the classical guitar repertoire. Although short in length, the piece offers remarkable musical depth and serves as an important milestone for advancing beginners and intermediate players.
The piece demands careful attention to voice separation, tone control, phrasing, and rubato. A convincing interpretation depends less on technical difficulty and more on musical awareness and sensitivity.
About the Piece
| Composer | Francisco Tárrega (1852–1909) |
| Key | E major (A section) / E minor (B section) |
| Form | Binary: A (8 bars) – B (8 bars) – A (da capo) |
| Difficulty | Early intermediate (Grade 3–4) |
| Duration | Approximately 1:30–2:00 minutes |
| Position | Mainly first position with brief shifts |
Section A: E Major (Measures 1–8)
The opening section presents a calm, lyrical melody in E major, supported by a simple bass line and subtle inner voices. The melody is primarily played on the first string and should sound vocal and connected.
Technical Focus: Voice Separation
Lágrima is clearly polyphonic. The soprano melody must always be perceived as an independent voice above the bass accompaniment. Use rest stroke for melody notes played with the index, middle, or ring finger, and free stroke for bass and inner voices. This naturally highlights the melodic line without forcing volume.
Measures 1–2: Opening Gesture
The descending melody (G♯–F♯–E) over a sustained E bass note sets the emotional character of the piece. Shape the phrase with a gentle diminuendo as the melody falls.
Practice tip: Play the melody alone first, without bass notes. Sing the phrase and internalize the direction of the line before reintegrating the accompaniment.
Measures 5–8: Resolution
The melodic idea returns and resolves the section. Allow a subtle ritardando toward the end of measure 8 to prepare the transition to the contrasting middle section.
Section B: E Minor (Measures 9–16)
The shift to E minor introduces a darker, more introspective color. Although the melodic contour is similar to Section A, the emotional meaning changes significantly. This contrast forms the expressive core of the piece.
The Key Change
The modulation from E major to E minor should feel deliberate and expressive. A short pause or breath between sections helps emphasize the change. Many players choose a slightly softer dynamic for the opening of Section B.
Technical Challenges in Section B
Partial barres: Apply only minimal pressure and release the barre as soon as possible to avoid tension.
Inner voices: The inner voice movement becomes more active. Keep it audible but clearly secondary to the melody.
The Da Capo: Returning to Section A
When Section A returns, the notes are identical, but the interpretation should reflect what has happened emotionally in Section B. The return to E major often feels calmer and more settled. Consider playing with slightly reduced intensity and increased warmth.
Rubato and Phrasing
Rubato should be subtle and organic. Small breaths at the ends of phrases, typically every two measures, help the music feel natural.
Allow harmonic tension to gently stretch the tempo, and let resolutions relax back into pulse. The final note should ring naturally, followed by a moment of silence that completes the musical thought.
Practice Strategy
Week 1: Learn Section A slowly with correct fingering and tone production.
Week 2: Add Section B and isolate barre chords and shifts.
Week 3: Focus on dynamics and voice separation. Record yourself.
Week 4: Develop phrasing and rubato. Compare interpretations by established performers.
Week 5 and beyond: Memorize and perform the piece for others.
Common Mistakes
Playing too fast: Typical performance tempo lies around 60–72 BPM.
Uniform dynamics: Shape every phrase and avoid constant volume.
Rushing the key change: Give the transition from major to minor enough space.
Lágrima may be brief, but mastering it develops essential musical skills that transfer directly to the wider classical guitar repertoire.
Explore more: our guide to famous classical guitar pieces and the classical guitar repertoire guide. Learn more about Francisco Tárrega.
