Play Lullabies But Don’t Bore People To Sleep

Learn How To Play This Piece Note for Note at


concert-sleep1Lullabies are tricky beasts when it comes to interpretive approaches. What should the performer’s goal be in playing a lullaby? There is no shortage of opinions out there with regards to the interpretation of lullabies. Some say that in order to stay fully committed to the authorial intent of lullabies, our ultimate pursuit should be to bring listeners into a state of relaxation, and if possible, put them to sleep altogether. I, myself have fallen asleep in the past listening to certain performances, and (dare I say?) it was nice. The sleep felt good but the performance was an absolute bore as the performer failed to keep me engaged. After all, what can communicate more detachment from the performer than to fall asleep during his or her performance? I guess death could… I suppose that if I had died on that chair, I would have been even more detached from the performer.


Here is an alternative suggestion for the playing of lullabies: imagine that when playing a lullaby your goal is not to put a baby to sleep but rather to explain the sleeping process to a sleep specialist or describe the singing of lullabies through your instrument. Yes, there is a branch of the medical communitty focused solely on the study of sleep habits and disorders and these folks do a lot of good out there. They are the archenemies of coffee companies that keep people awake.


What if your goal in playing a certain lullaby would be to describe various aspects of the sleeping process? What if you could musically portray the sensation of falling or slipping that many experience at some point or another right before they  begin to enter the REM (rapid eye movement) stages? Why not attempt to portray a brief bizarre dream or a short instrusive nightmare? How would you express the return to the sweet sleep in the REM stages through your playing? How would you replicate the singing of lullabies in your playing? Would you maintain metronomical rhythmic consistency or would you bend the rhythm to account for the informal approach to lullaby singing? How would you express with your instrument tonal colors and volume changes? How would express the transition from full voice to falsetto singing and, at times, even rhythmic whispering that is so much part of lullaby singing?


When we think deeply about our playing and  it is at that time that we make lullabies exciting to play and to listen to. Here is an example of how I tried to bring all this out in playing Cancion de Cuna, an Afro-Cuban Lullaby arranged by Leo Brower. These are my internal mental processes and, of course, they need not become yours. These personal thoughts may not communicate to the audience with the same level of detail. However, even your listeners don’t associate specific aspects of sleeping or lullaby singing to your actual performance, at the very least, they will be drawn in by the variances of tonal colors, volume and textures.

  • 0:00-0:54 Introduction of the lullaby with more rhythmic consistency to account for the first time the lullaby theme is introduced.
  • 0:55-1:28 Less rhythmic consistency and more flexible rhythmic phrases to prevent listening and performative boredom.
  • Interpretive contrast between 1:28-1:39 & 1:39-1:52. The softly played notes and the strum at 1:39-1:50 are meant to imitate the whispered singing of a mother.
  • The sharp ponticello at 1:50-1:52 is meant to denote that very brief sensation of falling or slipping right before the realization that everything is well in the world and I could return back to my sleep at 1:53.
  • 2:25-2:47 introduces a new theme, a more dissonant theme. The louder volume and sharper ponticello tones are meant to describe an intrusive strange dream that may disturb the sleeping for just a little while.
  • 3:16-3:37 The out of shape chord strum at 3:16 (same notes just played on switched strings) introduces the ending of the piece. The ending is rhythmically loose and it is meant to imitate the final singing of the lullaby theme right before the baby is laid down for the night.

Also I thought I would one of my favorite lullabies played on the guitar. This is a masterful performance of Tedesco’s “La Arruladora” by Christopher Parkening.

Life Is Too Short To Play Music You Don’t Like

The years of our lives are seventy or even by reason of strength, eighty…, they are soon gone and we fly away…, so teach us to number our days, so that we may get a heart of wisdom. (Moses, Psalm 90)

I have been thinking a lot about the brevity of life lately. Not in a morose, depressing way but in an attempt to distill down the most important aspects of my life. My point here is not to suggest how you should set your life priorities. I know what mine are or, better said, what they should be and I have a hard enough time making those happen. Nevertheless, when it comes to music and guitar playing I have a brief word of encouragement or advice, if you will allow me. I hope that this is helpful and affirming to what you instinctively feel is right.

Tavi Jinariu EliteGuitarist.pngHere is a thought: Why don’t you play the music you really enjoy? Our days on this earth are defiantly short and sooner or later we are all going to have to force exit this life. If you are going to put in the time and effort it takes to play the classical guitar, you might as well play material you really love. It is very easy to get on the bandwagon of playing what is trendy in guitar repertoire. We go to guitar competitions or festivals and immediately begin to feel the pressure of playing the same material although we often don’t understand it or, in all honesty, we dont even like it.

So what should you be working on? There is no shortage of music you could be practicing and you must become incredibly discerning as to what your time will be used for. The music you should devote your time to perfecting is the same music you constantly go back to for listening enjoyment. It is the music that continues to move you, elevate you, to ennoble you and bring some relief from your daily toils and hardships.

A few years back I decided that my practice will be devoted to the music that I most gladly listen to at the end of a long day, when I take my shoes off and put my feet up on the couch to relax. This is not to say that your repertoire cannot be intellectually challenging or avant-garde. Rather, this is an encouragement to be true to who you are and to embrace the music you really enjoy listening to without trying to fit in the repertoire mold of the latest guitar competition of festival. 

Play the music you really like and don’t let others dictate what you should like. As long as you attempt to fulfill others’ goals for your musical progress you will continue to grind your teeth on music you don’t like and guitar playing will become a major drag or you will give up playing it altogether. Press on, be true to yourselves, and play what you love because playing music you don’t really enjoy is like driving through life with the handbrake on. 

Here is the music I am enjoying these days and is becoming a part of my repertoire goals for the coming year or years.

  • Theme from Schindler’s List by John Williams
  • Valses Poeticos by Granados
    • Alicia De Larrocha’s interpretation is fantastic. 
  • Suite Compostellana by Mompou
    • Many interesting interpretations out there. I am excited to put my own fingerprint on this work. 
  • Pieces Caracteristiques by Torroba
    • Segovia is the standard here.
  • Five Bagatelles by Walton
    • Julian Bream is the man!