Gran Vals Tab & Practice Guide

Gran Vals needs a singing melody above a dependable waltz accompaniment. Its length makes organisation especially useful: learn a small group of phrases with a clear purpose instead of starting from the beginning every time. The opening theme gives you a model for the balance you will need throughout the piece.

Play the upper line alone and notice which notes last across the second and third beats. Add the bass and chords quietly enough that the melody keeps the same shape. If a chord change cuts the tune short, isolate that change rather than repeating a much longer section.

The central passages introduce ornaments, wider positions and different registers. Learn the main notes before the decorative figures. For a shift, connect the final note before moving to the first note after arriving. Then restore the surrounding accompaniment and check that the pulse remains steady.

Our numbering includes the opening pickup and follows the written endings in the transcription. Trace the route before a complete run, especially where a first ending returns and a second ending continues. Finish with one uninterrupted section and listen to the hierarchy of voices. A clear, sustained melody will tell you more about progress than the metronome number alone.

Let the waltz melody sing above its bass and chords. Three central sections introduce ornaments, slides and shifts. The pickup is numbered as bar 1. The app uses 60 bpm as a practice reference.

Skills to prepare

Sustained melody
Waltz in triple time
Balance between voices
Barres
Slurs and ornaments
Slides
Natural harmonic

Before learning the piece

App checkpoint: play bars 2–7’s melody alone, then keep it audible while adding the chords. Practise this skill (French).
App checkpoint: place the shapes from bars 24–28 without rhythm three times in a row. Practise this skill (French).
App checkpoint: play bars 14–16’s slurs slowly without rushing between notes. Practise this skill (French).

These checkpoints belong to our learning path. They do not set a deadline for your progress.

Tablature and fingerings

The six lines represent the strings, with high E at the top. Numbers show frets; 0 means an open string. The letters p, i, m and a indicate right-hand fingers.

Gran Vals: tab preview with strings, frets and fingerings — Preview of the first two bars. The complete version has 119 written bars.

Read the complete static tab · Download the alphaTex file

The player and its sounds load when you choose to use them.

Your phrase-by-phrase plan

Work on a short passage. Aim for five clean attempts in a row, then connect two phrases. Bar numbers follow our transcription, including a separately numbered pickup where applicable.

Phrase 1 · bars 1–2

Bars 1–2. Bar 1’s pickup lasts one beat. Slur 2–5 on string 2. Hold bar 2’s open first-string melody while the two chords enter on beats two and three.

Phrase 2 · bars 3–4

Keep string 1 at fret 2 and the small barre at 2. Only the bass changes: open string 6 in bar 3, then open string 5 in bar 4.

Phrase 3 · bars 5–6

Bars 5–6. The melody rises to fret 4 on string 1, reaching 5 on bar 6’s third beat. Play the line alone before restoring each bar’s two chords.

Phrase 4 · bars 7–8

Hold fret 5 on string 1 for two beats in bar 7, then return to 4. Prepare bar 8’s short 4–2 pull-off while holding string 5 at fret 2.

Phrase 5 · bars 9–10

Play bar 9’s bass notes 2–4–5 on string 5, one per beat. Return to string 1 at fret 2 in bar 10 and hear its entrance after the bass line.

Phrase 6 · bars 11–12

The melody moves 4–5 on string 1 in bar 11. Prepare the position around frets 7 and 9. Bar 12’s appoggiatura and melody both use fret 9 on string 1.

Phrase 7 · bars 13–14

Hold string 1 at fret 7 through bar 13’s chords. In bar 14, pull off 12–10 on that string, then play string 3 at 11 and string 2 at 9. Keep three equal beats.

Phrase 8 · bars 15–16

In bar 15, slur 9–7 on string 1, then play 7–9 on string 3. In bar 16, slur 7–5 on string 1, then string 3 at 6 and string 2 at 5.

Phrase 9 · bars 17–18

Touch string 5 above fret 7 for bar 17’s harmonic. Slur 2–5 on string 2 on beat three. Return to the open melody and chords in bar 18.

Phrase 10 · bars 19–20

Bars 19–20. Hold string 1 at fret 2. Keep beats two and three’s chords light while the bass alternates between open strings 6 and 5.

Phrase 11 · bars 21–22

Bars 21–22. Hold string 1 at fret 4 in both bars. The bass again alternates between open strings 6 and 5. Sing the melody before adding the chords.

Phrase 12 · bars 23–24

Bars 23–24. Hold string 1 at fret 5 in bar 23. Prepare bar 24’s upper shape separately: melody at 12, accompaniment on string 3 at 11 and string 2 at 12.

Phrase 13 · bars 25–26

The melody descends to fret 10 on string 1 in bar 25. Prepare the barre at 7 in bar 26; its bass is string 6 at 7, keeping the hand near the melody.

Phrase 14 · bars 27–28

Prepare fret 10 across the top three strings in bar 27. Bar 28’s melody descends to 9 on string 1 and the bass moves to string 5 at 7. Practise the shapes without rhythm, then in triple time.

Phrase 15 · bars 29–30

Return to open string 1 in bar 29, rising to fret 2 in bar 30. The inner notes move to fret 4 on strings 3 and 2. Keep the low open bass.

Phrase 16 · bars 31–32

Prepare the barre at 7 below bar 31’s melody. Hold bar 32’s upper chord as the thumb plays open string 5, string 5 at 7 and string 6 at 9.

Phrase 17 · bar 33

Bar 33. Hold the tied chord on beat one. Play 12–11–14–12 on string 1 with the two marked slurs: these four eighth notes fill the last two beats.

Phrase 18 · bars 34–35

Practise bar 34 without the 9–11–9 ornament on string 1, adding it after the chords are ready. Bar 35’s six eighth notes rise from bass to melody and return.

Phrase 19 · bars 36–37

Isolate bar 36’s 5–7–5 ornament on string 1. In bar 37, play the 9–14 bass slide on string 5 with the thumb, followed by the melody 14–11–12–9 on string 1.

Phrase 20 · bars 38–39

Prepare bar 38’s chord around frets 9, 10 and 11; the melody starts at 12 on string 1, then descends to 11. Wait until beat two before bar 39’s four slurred eighth notes.

Phrase 21 · bars 40–41

Return to the 9–11–9 ornament and chords in bar 40. Give bar 41’s first beat to the thumb, then play 12–11–14–12 on string 1 as even eighth notes.

Phrase 22 · bars 42–43

Practise bar 42’s ornament without rushing the chords. In bar 43, ascend through the arpeggio to string 2, finishing with a 5–12 slide on that string.

Phrase 23 · bars 44–45

String 1 at fret 7 precedes bar 44’s two lower chords. The thumb begins bar 45’s arpeggio of six eighth notes; prepare frets 4–6–7 on string 4.

Phrase 24 · bars 46–47

Isolate bar 46’s bass ornament, middle chord and final wide shift. Release the first bass before that shift. Descend through three chords in bar 47, one per beat.

Phrase 25 · bars 48–49

First ending: hold bar 48’s upper notes above three bass notes. Keep bar 49’s tied chord on beat one, then play 12–11–14–12. Return to 34.

Phrase 26 · bars 50–51

Second ending: hold bar 50’s upper notes above three bass notes. Sustain bar 51’s tied chord for one beat, observe two silent beats and continue to 52.

Phrase 27 · bars 52–53

The music moves into a major passage with five sharps. Bar 52’s lower melody uses string 4 at fret 4, then string 3 at fret 4 in bar 53. Prepare the barre at 2 beneath the upper chords.

Phrase 28 · bars 54–55

Hold string 3 at fret 3 in bar 54. The melody moves to string 2 at fret 2 in bar 55. Isolate the inner line: string 3 at 1, then string 4 at 4.

Phrase 29 · bars 56–57

Bars 56–57. Return to bars 52–53’s shapes. Keep the held notes ringing through each bar’s two chords. Bring out the lower line without making the upper chords heavy.

Phrase 30 · bars 58–59

Slur 3–4–3 on string 3 in bar 58, then play 2–3. Bar 59’s melody plays 0–4–2 on string 1, one note per beat. The engraving’s opening duration is corrected here to preserve three beats.

Phrase 31 · bars 60–61

Hold the melody at fret 4 on string 2. The bass is string 5 at 2 in bar 60, moving to string 6 at 6 in bar 61. Prepare the new shape before adding rhythm.

Phrase 32 · bars 62–63

Prepare the barre at 4 in bar 62. In bar 63, the melody rises to fret 6 on string 1, then descends to 4 on beat three. Keep the accompaniment below it.

Phrase 33 · bars 64–65

Practise bar 64’s three shapes separately. The slide leads towards frets 6 and 9. Hold string 2 at fret 4 for two beats in bar 65, then place the final chord.

Phrase 34 · bars 66–67

First ending: common notes remain tied. In bar 66, reattack only the indicated notes beneath the held melody. Hold for one beat in bar 67, then observe two silent beats. Return to 52.

Phrase 35 · bars 68–69

Second ending: keep bar 68’s common notes tied. Slur 4–7 on string 1 on bar 69’s last beat to prepare the next section at 70.

Phrase 36 · bars 70–71

Hold string 1 at fret 7. Bar 70’s held inner note is string 3 at 9, moving to string 4 at 9 in bar 71. The other two attacks remain on string 2 at 9.

Phrase 37 · bars 72–73

Prepare bar 72’s shape: string 1 at 7, string 2 at 10, string 3 at 11. Wait a beat in bar 73, then ascend 11–12–13–14 on string 1 with the two marked slurs.

Phrase 38 · bars 74–75

Slur 12–11 on string 1 in bar 74, then play the melody at 10 on string 2 twice. Wait a beat before bar 75’s four eighth notes. Its string change requires two separate attacks.

Phrase 39 · bars 76–77

Bar 76’s melody descends towards fret 1 on string 3. Play the 4–7 bass slide on string 6 with the thumb in bar 77, then slur 4–7 on string 1 on beat three. Shape the fermata freely in your own playing.

Phrase 40 · bars 78–79

Bars 78–79. Return to the two bars with string 1 held at fret 7. Practise the voices separately before combining them, keeping the melody audible above string 2’s repeated notes.

Phrase 41 · bars 80–81

Prepare bar 72’s wide shape again in bar 80. Bar 81’s four eighth notes rise 11–12–13–14 on string 1. Secure the notes before adding the slurs.

Phrase 42 · bars 82–83

Slur 12–11 on string 1 in bar 82, then play the chord twice. Slur 9–7 on that string in bar 83; the following chords remain around frets 7 and 8.

Phrase 43 · bars 84–85

First ending: hold bar 84’s upper notes through the bass line. Keep bar 85’s tied chord on beat one; slur 4–7 on string 1 on beat three to prepare the return to 70.

Phrase 44 · bars 86–87

Second ending: hold bar 86’s upper notes through the bass line. Bar 87’s tied chord lasts one beat. Slur 2–5 on string 2 on beat three to prepare the theme’s return.

Phrase 45 · bars 88–89

The theme returns. Bar 88’s melody uses open string 1, rising to fret 2 in bar 89. Chords still enter on beats two and three.

Phrase 46 · bars 90–91

Hold string 1 at fret 2 in bar 90, then rise to 4 in bar 91. Play the line alone before adding quieter chords.

Phrase 47 · bars 92–93

The melody moves 4–5 on string 1 in bar 92 and returns 5–4 in bar 93. Hold each bar’s first note for two beats.

Phrase 48 · bars 94–95

Slur 4–2 on string 1 in bar 94 while sustaining the bass. Play bar 95’s 2–4–5 bass line on string 5, one note per beat.

Phrase 49 · bars 96–97

Hold string 1 at fret 2 in bar 96. Bar 97 holds fret 4 for two beats, then has the 7–5 appoggiatura on beat three. Prepare the shift slowly.

Phrase 50 · bars 98–99

Bar 98’s melody arrives directly at fret 9 on string 1, descending to 7 in bar 99. Hold the note through both inner chords.

Phrase 51 · bars 100–101

In bar 100, slur 12–10 on string 1, then string 3 at 11 and string 2 at 9. In bar 101, slur 9–7 on string 1, then 7–9 on string 3.

Phrase 52 · bars 102–103

In bar 102, slur 7–5 on string 1, then string 3 at 6 and string 2 at 5. Play string 5’s fret-7 harmonic before bar 103’s short pickup.

Phrase 53 · bars 104–105

Return to open string 1 in bar 104, rising to fret 2 in 105. Keep bass and chords lighter than the melody.

Phrase 54 · bars 106–107

Hold string 1 at fret 2 in bar 106, then rise to 4 in 107. Count three beats per bar before adding flexibility to the phrase.

Phrase 55 · bars 108–109

Hold string 1 at fret 4 in bar 108, then rise to 5 in 109. Listen to the sustained basses and both chords without shortening the melody.

Phrase 56 · bars 110–111

Prepare the high position in bar 110, with the melody at fret 12 on string 1. Descend to 10 in bar 111. Keep the inner notes in place through both chords.

Phrase 57 · bars 112–113

Prepare the barre at 7 in bar 112, then move to fret 10 on the top three strings in 113. Practise the shapes separately before connecting them.

Phrase 58 · bars 114–115

The melody is string 1 at fret 9 in bar 114, returning to the open string in 115. Prepare the shift before restoring the chords.

Phrase 59 · bars 116–117

Hold string 1 at fret 2 in bar 116; the melody reaches 7 in 117. String 3 at fret 7 is retained according to the engraving, including its natural sign.

Phrase 60 · bars 118–119

Hold bar 118’s upper chord through all three bass notes. Sustain bar 119’s final tied chord for one beat, then observe two beats of silence.

Watch and listen

Choose the recording that matches your current goal. Videos load only when you select them and require an internet connection.

Lesson · This is Classical Guitar

Listen to the performance and lesson. Practise the melody alone, then the chords, initially keeping three steady beats per bar. Bar numbers may differ because our pickup is bar 1.

English commentary. Link and metadata checked for our selection.

Open the video on YouTube

Lesson · NBN GUITAR

Use NBN Guitar’s first lesson to prepare the opening and its shifts. Keep the melody above the chords; fingerings may differ from the app’s tablature.