Julia Florida by Barrios for Classical Ukulele

Julia Florida by Barrios for Classical Ukulele

Introduction

Agustín Barrios composed Julia Florida in 1938 and dedicated it to his student Julia Martinez. Written during a difficult period in his life, the piece has a lyrical character that carries well on the ʻukulele. In this arrangement, the piece is set in G, allowing the melody, open strings, and higher fretted notes to connect with a singing quality.

The music is in 6/8 time, with six eighth notes in each measure. Keep that gentle compound-meter feel in mind as you shape the phrases. The piece gives you room for rubato, but the rhythm should still feel clear beneath the expressive timing.

Tone and Opening Phrases

Begin with a sweet tone. In the opening measure, let the third note at the 7th fret sustain as you move to the higher chord on beat 4. This kind of connection is important throughout the piece. Many of the expressive effects depend on allowing one sound to continue while the left hand prepares the next shape.

Use a slight rallentando in measure 3. The slides in that measure should feel like light grace notes leading into the main melody. Keep them delicate, and do not let the slide become heavier than the note it leads toward.

Left-Hand Preparation and Sustained Notes

Left-hand preparation is central to this arrangement. In measure 8, prepare the 4th finger for the E minor chord so the other fingers remain available for the higher notes. This kind of planning will make the phrase smoother and keep the melody from sounding interrupted.

In measure 10, the slide leads to an open string, creating the note A. In the following measure, articulate the 12th-fret note on the 4th string after a light slide from the 9th fret. The balance between fretted notes and open strings matters here. Play the open strings softly enough that the higher fretted notes can continue to ring.

Pay close attention to the transition into measure 16. After the slide, articulate the first note of measure 17 clearly. The slide prepares the arrival, but the arrival still needs to speak.

Rolled Chords and Expressive Bass Notes

When you reach the four-note chords, roll them so the bass and melody notes remain distinct. Let the bass sound slightly ahead of the beat for expression. This gives the chord shape more direction and helps the melody emerge from the texture.

As the piece moves into the E minor section at measure 31, build intensity with a crescendo. Use the 1st finger for the bass note in the first ending. In the second ending, use the 2nd finger for the A7 chord. These fingerings help set up the hand for what follows.

Position Shifts and Embellishments

Starting at the second ending, memorize the larger position shifts so that your attention can stay on the left hand. This section contains quick pull-offs, slides, and embellishments. In measure 37, keep the pull-offs light and quick. Treat the other ornaments in this section the same way: they should decorate the line without slowing it down.

In measure 47, do not articulate the 6th fret during the slide. Let the motion carry you to the destination note, then sustain the note once it arrives. In measure 50, create an echo effect. From measure 51 through measure 56, shape a dynamic rise and fall before the D.C. al Coda.

Coda and Ending

In measure 57, slide with the 2nd finger so the hand is ready for the open-string chord on beat 4. Let the ending open up. Take your time with the last three measures, and allow the final sound to settle.

End softly with the octave G notes. The close of the piece should feel calm and lyrical, in keeping with the character established at the beginning.