The Girl Who Played Asturias

Author's Note: I am so NOT a classical guitarist. I used to play Violin in high school, and I am more of a singer. So, please do not be offended if I sound like I am clueless because for the most part, I AM. Thanks so much for your mercy.

This is the second part of the "Based on Music" series, so while you could get away with it, you might want to read Taken by a Stranger first. – M.N.

Spanish Composer Issac Albéniz originally composed Asturias, considered to be one the most important works of the classical guitar repertoire, for the piano in the key of G minor. Francisco Tárrega is the Spanish composer who transcribed it for guitar in the key of E minor, and Andrés Segovia, a heralded Spanish classical guitarist, made it cool to play. It's broken up into four distinct parts – the first is a dynamic, passionate flamenco, the second part is delicate and melodic, the third part dynamic again, and a quiet finish reminiscent of a prayer. For a dedicated student of classical guitar, this piece, along with Tárrega's Capricho Arabe, is a test of musicality and technique. It's also like an optical illusion. The fingers appear to be moving slowly, but the tempo is anything but. Pinky-index-pink-middle, and each finger plays a part in crafting this complex, lush melody.

The one who was seduced had been well acquainted with this piece since she was thirteen years old. Those within earshot, however, would be inclined to think otherwise because right now, Adelina Jurie is absolutely butchering this piece.

It starts off well enough. Sometimes, she swore she sounded just like her idol, Sharon Isbin, and motivated herself to keep practicing. But the result is always the same – her fingering would be off, a note would be played off-key, or her playing would be just awful. She might not be a music major – Anthropology was both challenging and engaging and she was committed – but she'd been playing classical guitar long enough to know that even cats and crows would be able to point out her flawed technique, let alone a heralded professional.

Albeniz, Tárrega, and Segovia must be shaking their heads in disgust, wherever they are.

Silently, she pleads to these guitar gods for mercy. She can't help it. This song – it reminded her too much of that night…too much of him. The beginning section of the song jogs her memory the most. Every time she'd get going, the vivid pictures of her night as the one being seduced flood into her mind. The memories are crystal clear and mirror the dynamics of the first section.

First, a quiet start – meeting him at the bar, and then the walk to her hotel room.

Then the volume increases – they make it inside her room, where she tempts and teases him, and then allows him to have his way with her…

Then the loud, passionate, furious playing, marcato, staccato…she cries out over and over, amazed at how good he feels…

And finally, fingers moving down the fretboard to reach one, final note…her cry is crystal clear above everything when it hits…

Oh my God! It excites her just thinking about it.

But of course, amorous excitement leads to careless mistakes, which adds to her frustration.

She carefully places her guitar on its stand, sighing heavily. This isn't good. In – her eyes jet over to her alarm clock – a little less than ten hours, she would have to play this piece for her fellow Fraser University undergrads for the annual "Lonely Hearts" concert. It was the university's way of comforting students on-campus who were not in a relationship, whatever their circumstances dictated. The theme for this year was "Spanish Seduction – an Evening of Classical Guitar". Adelina snickers at the memory at concert poster's fine print – "while we'd love to say that we'll have a handsome Spanish guitar player performing, no one would ever believe that a handsome Spanish guitar player wouldn't have a date on Valentine's Day".