Granados – 8 Valses Poéticos (sheet music, partitura) Piano

Enrique Granados – 8 Valses Poéticos (sheet music, partitura) Piano


Track List:

  1. Vivace molto and Melodico
  2. Tempo de Vals noble
  3. Tempo de Vals lento
  4. Allegro humoristico
  5. Allegretto (elegante)
  6. Quasi ad libitum (sentimental)
  7. Vivo
  8. Presto

Poetic waltzes by Enrique Granados: Melodic waltz

The Spanish composer Enrique Granados (1867-1916) wrote numerous works for piano throughout his life. His poetic waltzes were composed between 1893 and 1894, and form a set of 9 pieces: an introduction and 8 waltzes.

The poetic waltzes contain typical characteristics of a romantic style, very close to the piano music of R. Schumann and F. Chopin:

  • Character pieces with a simple structure based on derivatives of classical forms and a square phrasing: phrases of 8 or 16 measures that are divided into semi-phrases of 4 or 8 measures with motifs of 4 or 2 measures.
  • Use of the possibilities offered by the romantic piano: pedal that maintains the written sounds producing dense sounds and orchestral effects that contrast with more intimate sections (end of the first section versus the second section).
  • Dynamic processes that conclude with a climax at the end of the first section.
  • The accompaniment is closely related to the melody: the ascending scale of the melody appears inverted on the first note of each measure in the bass.
  • The composer writes all dynamic, articulation, agogic, and character details into the score, thus eliminating any option for the performer to add, modify, or improvise.

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The Melodious Waltz, in the key of A major, is played after the prelude. Its general structure derives from the form binary re-expository , with varied and written repetition of the first 16 bars of the first section, thus avoiding the repetition bars that only appear in the second section .

Curiously, the melodic Waltz by E. Granados has a structure and melodic design similar to that of the first piece of Papillons Op. 2 by R. Schumann, composed in 1831.

The 32 bars that the first section contains are divided into two parallel phrases, a and a’, of 16 bars each. The phrase a’ repeats the first phrase in forte and with greater sound density: doubling of the melody in octaves and higher and lower registers in its last bars.

Made up of two 8-bar phrases, b and a’, the beginning of the second section presents a dynamic, textural and modal contrast: piano, partly low melody and change of mode to A minor. The phrase a’ has a development character, uses only M-a1 and forms a semi-sequence by descending thirds (la-fa). The relationship of the third or tenth of the first measure, in the accompaniment, is observed in phrase b at various structural levels:

  • The initial notes la and fa form a falling third interval.
  • The initial and final notes of each motive have a relationship of ascending tenth (la-do and fa-la).

    The phrase a’ partially restates the first phrase, but this time with inverse density and dynamics that facilitate the closure of the entire piece.


    • Accompanied melody texture. The melody is partly high in the phrases a and a’, and partly low in the phrase b.
    • General structure derived from the re-expository binary form.
    • Dynamics for terraces in the first section: p, f, ff.
    • Formal structure based on phrases of 16 and 8 bars, semi-phrases of 8 and 4 that take as a model the thematic organization in groups of 4 bars.
    • Contrasting and complementary melodic motifs and designs that are based on a melodic scheme (ascending scale) and the projection of an interval with which the accompaniment pattern begins (la1-do#3). The parallels of the tenth in the accompaniment stand out, and between it and the melody.
    • Full stop at the end of the first sentence.
    • Rhythmic displacements at the end of the first section that appear already in the first bar with the tenth-do# break.
    • Semi-cadence, change of mode, and arrangement between melody and accompaniment in phrase B.
    • Markings in The tempo of the second section invite interpretation using the rubato as the piece concludes.

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