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RE: opinions about rubato playing? (in reply to Ricardo)
quote:
Any specific spot?
lots of them!
referring to the studio recording
end of the 3rd compas B maj triad is (i think) on 9 at 0.19, and then that compas seems to just trail off vaguely.... if i tap my foot and cound the taps the 4th compas comes on 12+ but i think it's probably meant to be 1+ as there is then an accent on 3 and the rest of the compas seems to line up ok for me.
then it repeats, fifth compas also peaks on B triad on 9 at 0.32 and again seems to come straight in on what sounds metronomically like 12 but is probably 1.
then the 7th compas at 0.41, that one seems really stretched out....
then the llamada at 0.48 or 0.49 - can never tell where that is starting, or where the first couple of golpes hit.... the second compas of the llamada at 0.55 that he is playing abanico i can follow fine....
I have usually given up by this point, unsure whether it is very elastic or libre.
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Joined: Dec. 14 2004
From: Washington DC
RE: opinions about rubato playing? (in reply to mark indigo)
quote:
ORIGINAL: mark indigo
quote:
Any specific spot?
lots of them!
referring to the studio recording
end of the 3rd compas B maj triad is (i think) on 9 at 0.19, and then that compas seems to just trail off vaguely.... if i tap my foot and cound the taps the 4th compas comes on 12+ but i think it's probably meant to be 1+ as there is then an accent on 3 and the rest of the compas seems to line up ok for me.
then it repeats, fifth compas also peaks on B triad on 9 at 0.32 and again seems to come straight in on what sounds metronomically like 12 but is probably 1.
then the 7th compas at 0.41, that one seems really stretched out....
then the llamada at 0.48 or 0.49 - can never tell where that is starting, or where the first couple of golpes hit.... the second compas of the llamada at 0.55 that he is playing abanico i can follow fine....
I have usually given up by this point, unsure whether it is very elastic or libre.
As you can see he likes to accelerate the conclusions of the two compas phrases.
RE: opinions about rubato playing? (in reply to Ricardo)
lol, looks like you have a hater who rushed to downvote that video watched it when there was 6 views on the counter and someone had downvoted it
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RE: opinions about rubato playing? (in reply to Steelhead)
If you guys are talking about tempo, as in expansion and contraction of the compás with all beats, Domingo Rubichi plays that way, too (see YouTube videos with Antonio Agujetas). I hear it in the accompaniment of Montoya, Melchor and Morao (viejo). I usually don't like any alteration of tempo except for going a little faster at the end, but the way the aforementioned guitarists make their accompaniment breathe gets the best results, in my opinion.
Posts: 15242
Joined: Dec. 14 2004
From: Washington DC
RE: opinions about rubato playing? (in reply to canteytoque1)
quote:
ORIGINAL: canteytoque1
If you guys are talking about tempo, as in expansion and contraction of the compás with all beats, Domingo Rubichi plays that way, too (see YouTube videos with Antonio Agujetas). I hear it in the accompaniment of Montoya, Melchor and Morao (viejo). I usually don't like any alteration of tempo except for going a little faster at the end, but the way the aforementioned guitarists make their accompaniment breathe gets the best results, in my opinion.
Yes that’s it. As usual the question was quite general, but I knew the guy positing had made a nice transcription of Talega, so I decided give everyone a giant headache by going into specifics.
Funny how I get copyright strikes for clapping along to music excerpts. What the hell ever happened to “fair use” clauses?
RE: opinions about rubato playing? (in reply to Ricardo)
quote:
As you can see he likes to accelerate the conclusions of the two compas phrases.
thanks for the vid, I have watched/listened a few times over, I am going to have to study it some more, I am still not getting the end of the 3rd compas and first half of the 4th, it just seems to float around your palmas!
I think I just can't hear the pulse/beat with the combination of space and elastication.
I am fine with hearing something like Cuando Canta el Gallo or Barrio La Viña where it's more or less continuous 3 or 4 notes per beat and the tempo gently rises and falls, or speeds up more in the picado runs. Or other things of Vicente like Maestro Sanlucar or Reino de Silia of Vicente where there is space, but palmas/percusion accompaniment keeping a steady pulse.
Posts: 15242
Joined: Dec. 14 2004
From: Washington DC
RE: opinions about rubato playing? (in reply to mark indigo)
quote:
ORIGINAL: mark indigo
quote:
As you can see he likes to accelerate the conclusions of the two compas phrases.
thanks for the vid, I have watched/listened a few times over, I am going to have to study it some more, I am still not getting the end of the 3rd compas and first half of the 4th, it just seems to float around your palmas!
I think I just can't hear the pulse/beat with the combination of space and elastication.
I am fine with hearing something like Cuando Canta el Gallo or Barrio La Viña where it's more or less continuous 3 or 4 notes per beat and the tempo gently rises and falls, or speeds up more in the picado runs. Or other things of Vicente like Maestro Sanlucar or Reino de Silia of Vicente where there is space, but palmas/percusion accompaniment keeping a steady pulse.
I will listen some more, thanks again.
You can slow my video down ... it’s mostly 16th notes so keep track of em. The third compas has a rise and fall accent before and after 3, 6, 9. So that last phrase throws your ear. &ah8e&ah NINE e&ah 10e&ah 11e&..(rest). Then start on 1 (4th compas) track 16th notes to the count 4 D string bass note (I am already getting behind him there) then he accelerates and that is where it gets hard to track ...6 is the high note and he really pushes after that then 10 is remate that he slows down right away. 6th compas same deal, he runs away from me and I catch up.
Also the golpes llamada he is slowing down so I’m not slowing down exactly perfectly coming from the previous compas that was sped up. However it should still be clear how those golpes are coming in as contras. For the most part he is fairly even tempo wise IMO, I could take time to give metronome marks, but I thought clapping along was faster, and you can see in real time how he is stretching things.
Posts: 15242
Joined: Dec. 14 2004
From: Washington DC
RE: opinions about rubato playing? (in reply to devilhand)
quote:
ORIGINAL: devilhand
I just edited the link in my post above. The previous youtube link doesn't work on another website.
While it’s not metronomic it is not very elastic either... at least not like the Vicente example. I would not say it’s Rubato honestly. And yes phrases in 6’s that repeat in even groupings are meant to add up to 12. Half compas situations manifest as a result of odd groupings of 6 count phrases. Both would be considered “in compas”, however, the even 6s that add to neat 12 counts are considered “cuadrao” which means squared.
RE: opinions about rubato playing? (in reply to Ricardo)
quote:
While it’s not metronomic it is not very elastic either... at least not like the Vicente example. I would not say it’s Rubato honestly. And yes phrases in 6’s that repeat in even groupings are meant to add up to 12. Half compas situations manifest as a result of odd groupings of 6 count phrases. Both would be considered “in compas”, however, the even 6s that add to neat 12 counts are considered “cuadrao” which means squared.
You're being diplomatic and writing it's not metronomic. I would say Juan Marote is a bit out of compas there.
Talking about cuadrao, what if one plays the same phrase 4 times in 3/4 time? Each phrase lasts one bar. So we still have full 12 beat compas. I don't know if such compas can exist in flamenco. If it exists, what would we call it?
Posts: 15242
Joined: Dec. 14 2004
From: Washington DC
RE: opinions about rubato playing? (in reply to devilhand)
quote:
You're being diplomatic and writing it's not metronomic. I would say Juan Marote is a bit out of compas there.
I think you are rhythmically challenged to the point your opinions and perceptions about what you are hearing are dangerously inhibiting your ability to advance. You need one on one instruction as soon as possible.