Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
Creating a set list
|
You are logged in as Guest
|
Users viewing this topic: none
|
|
Login | |
|
xirdneH_imiJ
Posts: 1900
Joined: Dec. 2 2006
From: Budapest, now in Southampton
|
RE: Creating a set list (in reply to kozz)
|
|
|
interesting and important question! all of the above do matter, but you also have to take account the kind of audience you're expecting...if we play for a more serious audience we usually like to open with something deep, a taranto or soleá, even rondena, and like to vary the moods...one upbeat piece, one deeper...but it's important to finish in a good mood, preferably alegrías or a bulería followed by fiesta... to me it's important not to play pieces that are in the same key, which to me is sometimes not convenient because i have to move the capo and/or tune to an alternate tuning, but it's a small price to pay...if the capo does stay in position, it's always a "normal" piece first, say bulerías por medio, after that a tango in Eb so it's completely different... in my band we have many dancers and in our standard set we have music only / dance / music / dance etc...
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 18 2010 13:26:43
|
|
kozz
Posts: 1766
Joined: Feb. 26 2009
From: Eindhoven NL
|
RE: Creating a set list (in reply to xirdneH_imiJ)
|
|
|
quote:
interesting and important question! all of the above do matter, but you also have to take account the kind of audience you're expecting...if we play for a more serious audience we usually like to open with something deep, a taranto or soleá, even rondena, and like to vary the moods...one upbeat piece, one deeper...but it's important to finish in a good mood, preferably alegrías or a bulería followed by fiesta... Thanks Jimi, thats what is interesting, and puzzles me a bit how to translate it to a live performance. Individual songs have a certain mood, but does song X perserve the same mood when it is played in a live set between song 1 and 3, or between 5 and 7. So if I understand correctly you guys use the overall palo intentioned mood as a guide? quote:
Only thing I think about in program is the way the strings might stretch with altered tuning. Nuñez uses altered tunings a lot so I see him first do pieces with low Eb (solea por buleria), then D in a group (buleria tango Rondena/bulerias etc). Then low C (usually has two of em), then finally low B (siguiriyas). Idea being to gradually let the bass string settle rather then jumping down to that low B right off. But this is just an idea. Thanks Ricardo, I didn't thought about alternate tunings, that's an interesting point. Never played with alternate tunings myself, but when I make a relationship towards the dj-stuff, it can be quite interesting to play six tango's in a row, but with alternate tunings, without getting monotonous. Ok, six is a bit to much ofcourse, but in the techno scene the records are all more or less the same, but when played together in a certain order it can be quite uplifting. The idea of Nunez going down seems to me the same thing as what I described above. Using the circle of 5ths, if it can be said so, to gradually change moods without getting "off", and have the palo determine the energy. From a dj point of view I can describe why one song will work after another. If song X is in relation +2 semitones higher than the one playing, song X is considered as uplifting. But if the same song X is -2 semitones in relation to the one playing, than it is making the dancefloor ease a bit. So the song is still the same, but has different outcomes. Would that also be one factor, as there are many, that make a concert good, or outstanding?
_____________________________
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 18 2010 15:11:56
|
|
kozz
Posts: 1766
Joined: Feb. 26 2009
From: Eindhoven NL
|
RE: Creating a set list (in reply to kozz)
|
|
|
Its nice to see the different approaches. Reading it I must admit I looked a bit narrow minded to it, too technical perhaps. If you know your audience, that must be a great advantage... The goal to play with the audience is great. I can imagine that in smaller settings and bars you are more likely to get people involved in jaleos and palmas than in theather shows. Last year when I was in Barcelona there was this small restaurant which turned every thursday evening into a flamenco bar. You could really notice the difference between the people who were performing there, I can't recall there names anymore, but one evening everybody in the bar was involved whilst another time a singer got so lost in his misserable live that no mather what he sang, he seemed to die every minute. This was a real boring performance. We almost got kicked out because when they finally played a tango, our hands got loose with some guys from Jerez, but if only eyes could kill. Anyway afterwards, the guys from Jerez (Jiminez family) started to sing tangos and do palmas....that was just the best part of the evening. I have no experience in playing in front of an audience, but what do you prefer? Just playing your set and have appreciation from the audience, or have fun an have people involved?
_____________________________
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 19 2010 21:50:41
|
|
New Messages |
No New Messages |
Hot Topic w/ New Messages |
Hot Topic w/o New Messages |
Locked w/ New Messages |
Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
6.298828E-02 secs.
|