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They just say "Here do this," which can also teach you something. They possess practical experiential knowledge but not discursive knowledge.
So true Kevin. And when you are with them and they make the point on the instrument it is very clear. But if you take away the instrument and repeat the words they used then you are in trouble because on their own they mean nothing because they must be heard in conjunction with the music. And if on their own the words are wrong then there can be trouble, like when a Chef says that 'cooking has nothing to do with chemistry'. If you know what chemistry is then the statement is beyond ridiculous. But if you are a chef on TV selling a 'money for old rope' cookery book aimed squarely at people with more prejudice than understanding the statement can have real power.
I DEFINITELY meant 6/4+2/4. I broke it down into groups of two to avoid the assumption of underlying ternary rhythm. Accents would fall on beats 2,4 and then 2, which is analagous to pop or rock but with an extra two beats bar. But only for some falsetas. You find it in say the intro in ,triplets,to Aires Choquero's and also in a few of the falsetas. Also in that track there are LOTS of other harmonic structures which are by no means defined by the backing but which MUST be placed correctly against it.
The absence of any common usage of 6/4 =4/4+3/4 is one of the things that has interfered with the notation of flamenco. As well as certain styles of Jazz Waltz and African music. Well this took me a long time to work out, and these things often take very little time to reject. Readers must make their choice.
RE: Bulerias en 6 rhythm (in reply to guitarbuddha)
quote:
The absence of any common usage of 6/4 =4/4+3/4 is one of the things that has interfered with the notation of flamenco. As well as certain styles of Jazz Waltz and African music. Well this took me a long time to work out, and these things often take very little time to reject. Readers must make their choice.
Yeah, this is the scary thing. That you will do some things to help people out according to how you have experienced learning a "culture" as outsider and they will be to lazy to investigate it. Oh well.
I might get yelled at for counting bulerias... Well so be it I need some way of explaining the rhythm.
I've been hearing Vicente use this rhythm a lot:
ONE - 2 - 3 - FOUR -5 - 6 with a swing. Like in Rio de La Seda, or azules y corinto (I think if memory serves)
Or:
ONE - 2 - THREE - 4 in Luz de la Sambra
Palmas could be CLAP CLAP CLAP rest in either example
You could feel the pulse or downbeat and count it however you want I assume.
So is this just another way of feeling bulerias in 6s?
It is just a way for the guitar to express the up beats along with the palmas pattern you may be familiar with. (One and THREE specifically, not so much count 5). Other variations might instead keep count 1 silent and accent "&" between count 1 and 2....again having two palmeros achieve a certain pattern the same way by off setting count 1 and the "&" between 1-2. Makes a nice dynamic rise and fall to the very short 6's compas phrase.
Kevin, and Len-- thanks for writing all that down and explaining some Bulerias patterns. In the end it seems to come down to polyrhythm. But it's nice to know important variations that are used.
Ricardo, thanks for the answer to my original question! I think I hear what you mean about emphasis of the upbeats. I learned the beginning of Rio de la Seda (I feel ashamed to admit) because it's not to hard on technique and I can try to focus on learning the rhythm.
If I tap my foot along, on 1 and 4, I notice in that the chord changes are happening between those downbeat, like just before, or after, 3 or 5 seems right, but Its fast and hard for me to tell.
I like your sheet, thanks a lot. The al golpe pattern is identical with the one Lenador posted, sort of confirmation it is something official.
But I am still wondering under what circumestances its is applied. Maybe I didn't listen close enough to the videos posted. Firstly it isn't clear to me whether it is played once, over a couple of compases, or all along with a performance.
Does anyone have an audio example where the palmas al golpe can easily be identified, and which makes clear for what kind of sequence the al golpe pattern fits better than the other ones?
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