El Noy de la Mare (Llobet, Miguel) El Noy de la Mare. Alternative. Title, Cançó popular catalana. Composer, Llobet, Miguel. I-Catalogue NumberI-Cat. No. El Noi de la Mare (The Child of the Mother) is a traditional Catalan Christmas song. The song was made famous outside Spain by Andrés Segovia who used to perform Miguel Llobet’s guitar. Classical guitar masterclass El Noi de la Mare, by Miguel Llobet, taught by Guitarist Renato Bellucci using high definition videos and scores.

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El Noi de la Mare—arranged by Miguel Llobet.

Although in principle a simple piece, El Noi de la Mare features some difficult left hand fingering, causing me to rate it of medium difficulty. In measure 7, you may be tempted to leave out the B in the Gmaj9omit5 to make it easier to play.

The trick is to lift finger 1, allowing 2 and 3 to move and then place finger 1 back down on the second fret of the 3rd string. The chord is already missing a fifth. The music allows a lot of room for interpretation, from choice of tempo to tone production. The final harmonic is an artificial harmonic. This creates the room you need to move fingers 2 and 3 into position 4 stays in place while bending finger 1 onto the third string.

Stop the first string at the 5th fret and play the harmonic on the 17th fret with your right hand. Place your right hand index finger on the string above the fret and simultaneously pluck the string with your thumb, lifting your hand in time to avoid muting the string.

The arrangement uses a dropped-D tuning and consists of three voices. If you persevere to the point you can play the one or two hard parts at tempo, you will find your overall playing has improved. Also, without the G, the chord is a Bm7sus. Finally, you may choose to play the penultimate harmonic the A played on the fourth string on the 19th fret with the right hand only. Then move your remaining fingers into place.


I have not provided right hand fingering because it’s pretty straightforward. I’ve added a rallentando and a fermata in the penultimate measure. If you disagree, ignore the change. You could even play one measure one way and the other measure another way. Finger 4 stays in place and, despite lifting, finger 1 doesn’t move to a new note; so you’re really only changing the position of fingers 2 llobt 3.

It’s really just a matter of taste. It is one of Miguel Llobet’s best known arrangements of Catalan folk songs. If your hand is physically large enough, but you can’t do it, then you need only practice a little bit maare day until you can do it.

Keep finger 4 in place on the immediately preceding A which will form part of the chord.

El Noi de la Mare – Wikipedia

I don’t really have any suggestions about the G major in measures 11 and That may facilitate getting both your left and right hands in position to the play the final harmonic.

As soon as you switch from the Bm to the minor third interval, point finger 1 roughly perpendicular to the neck of the guitar. If you omit the third, is it really a G chord of any sort? You may ignore this as well.

El Noi de la Mare—arranged by Miguel Llobet

It’s likely most guitarists would play it that way without thinking about it, ls I notated it explicitly. I’ve listed a suggested tempo.

Don’t tense it, just make sure it isn’t overly curled. Llobet was quite expert at harmony, orchestrating each string as a separate instrument.


The parts presenting the most difficulty to players are the inverted A major chord in measure 3, the Gmaj9omit5 in measure 7, and the stretch required amre the G major in measures 11 and Lloebt shouldn’t do that for a couple of reasons.

If your hand is not physically large enough for the guitar you own, you will need a smaller guitar. Either your hand can make the stretch or it can’t. The original doesn’t list a tempo.

El Noy de la Mare (Llobet, Miguel)

I’ve made very few edits to the music, none of any significance. The inverted A major isn’t as hard as it seems.

El Noi de la Mare maree a Catalan folk song, both a lullaby and a Christmas song. Even famous professional guitar players will simplify some of the fingerings by omitting or replacing notes.

Finally, I added a final measure with a soft chord reprising the original final chord in a different voicing. Despite not continuing to sound, a sense of the B remains, giving the following minor third interval the feel of a complete E minor chord. Instead of taking a shortcut, the trick to playing the Gmaj9omit5 without losing a beat lies in the preceding chords.

The left hand fingering for measures 14 and 16 could be changed to use strings 2—4 in place of 1—3.

I recommend you avoid such shortcuts. A bass pattern and the mid-range of the chords provide the rhythm section while the high strings provide the main melody.