The most famous piece of Paco de Lucia is "Entre Dos Aguas"; - the piece with which
Vicente Amigo made musical history is "ROMA". The link between the two is Vicente's
musical necrology of Paco's death in his dedication "REQUIEM". Both works, REQUIEM and
ROMA share similar harmonic structures and are ideally suited as two movements that blend
into one another in a musical suite. The arrangements offered by Walter Abt provide both a
solo version of the two pieces, as well as a duo version, which can further be augmented with
instruments such as the violin/accordion/concertina/flute (C voice) or soprano and tenor sax
(Bb voice).
This arrangementis based at the version for 2 Guitars or the version for guitar solo in the key of C-minor (Bb-Instrument: D-minor).

Das weltbekannteste Stück Paco de Lucias ist „Entre Dos Aguas“; - das Stück, mit dem
Vicente Amigo musikalische Geschichte geschrieben hat, ist „ROMA“. Das Bindeglied
zwischen den beiden ist der musikalische Nekrolog Vicentes auf Pacos Tod in seiner
Widmung „REQUIEM“. Beide Werke, sowohl REQUIEM wie auch ROMA weisen ähnliche
harmonische Strukturen auf und eignen sich hervorragend als zwei Sätze, die in einer
musikalischen Suite ineinander verschmelzen.
Die angebotenen Arrangements von WalterAbt bieten sowohl eine Solo-Version der beiden
Stücke, als auch eine Duo-Fassung für Gitarre, die sich
weiterhin mit Instrumenten wie der Violine/Akkordeon/ Concertina/ Flöte (C-Stimme) oder
mit Sopran- und Tenor-Sax (Bb-Stimme) ergänzen lassen.
Die vorliegende Stimme ist konzipiert für die klingende Tonart C-moll (Gitarre Capo I), entsprechend für Bb-Instrumente in D-moll.

TRES NOTAS PARA DECIR TE QUIERO is one of Vicente Amigo's most successful pieces. It is timed in
the compas of the flamenco tangos, not to be confused with the tango from Buenos Aires.
The "notation" version in Walter Abt's transcription includes some playful light alternatives of
extremely demanding technical and rhythmic passages as an appended ossia line. Interesting in
Vicente's improvisation part are the deviations of the harmonic sequence according to the theme.
His altered changes allow for a scalic improvisation in the aeolian and harmonic mode of E minor. In
the second falseta (bars 120-137) you can improvise over the chords E7 and Am scalically with Amharmonic
(a, b, c, d, e, f, g#), and in the following chords with Em-harmonic.The final part is taken
from a live version of one of his concerts. The recapitulation of the intro, with the final chord Em9
instead of Cmaj (see the ossia line in the "notation" version), can also figure as an excellent
alternative finale.
Compare also Walter’s arrangements of Vicente’s ROMA and REQUIEM.

TRES NOTAS PARA DECIR TE QUIERO is one of Vicente Amigo's most successful pieces. It is timed in
the compas of the flamenco tangos, not to be confused with the tango from Buenos Aires.
The "notation" version in Walter Abt's transcription includes some playful light alternatives of
extremely demanding technical and rhythmic passages as an appended ossia line. Interesting in
Vicente's improvisation part are the deviations of the harmonic sequence according to the theme.
His altered changes allow for a scalic improvisation in the aeolian and harmonic mode of E minor. In
the second falseta (bars 120-137) you can improvise over the chords E7 and Am scalically with Amharmonic
(a, b, c, d, e, f, g#), and in the following chords with Em-harmonic.The final part is taken
from a live version of one of his concerts. The recapitulation of the intro, with the final chord Em9
instead of Cmaj (see the ossia line in the "notation" version), can also figure as an excellent
alternative finale.
Compare also Walter’s arrangements of Vicente’s ROMA and REQUIEM.

TRES NOTAS PARA DECIR TE QUIERO is one of Vicente Amigo's most successful pieces. It is timed in
the compas of the flamenco tangos, not to be confused with the tango from Buenos Aires.
The "notation" version in Walter Abt's transcription includes some playful light alternatives of
extremely demanding technical and rhythmic passages as an appended ossia line. Interesting in
Vicente's improvisation part are the deviations of the harmonic sequence according to the theme.
His altered changes allow for a scalic improvisation in the aeolian and harmonic mode of E minor. In
the second falseta (bars 120-137) you can improvise over the chords E7 and Am scalically with Am harmonic
(a, b, c, d, e, f, g#), and in the following chords with Em-harmonic.The final part is taken
from a live version of one of his concerts. The recapitulation of the intro, with the final chord Em9
instead of Cmaj (see the ossia line in the "notation" version), can also figure as an excellent
alternative finale.
Compare also Walter’s arrangements of Vicente’s ROMA and REQUIEM.