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Cancion Andaluza book
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Ricardo
Posts: 14806
Joined: Dec. 14 2004
From: Washington DC
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RE: Cancion Andaluza book (in reply to Filip)
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Cool. I only really liked his final buleria medley interms of guitar. This classic copla material, for me, is in the same bag as Aranjuez and de Falla arrangements. I don’t really need scores of that stuff. What I would really prefer is a collection of all his trio compositions: Tres Hermanos, Chiquito, Sichia, La Estiba, Cardeosa, and perhaps several of his improvisations from other Trio tunes that he did not write, like his solos on Aspan, David, Orient Blue, Passion grace and fire, Letter from India, etc. Infact full scores of the 3 trio albums Saturday, Passion Grace and Fire, and The Guitar TRio would be greatly preferred (I know permissions are an issue).
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CD's and transcriptions available here: www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Feb. 23 2024 18:12:40
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Mark2
Posts: 1871
Joined: Jul. 12 2004
From: San Francisco
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RE: Cancion Andaluza book (in reply to Ricardo)
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Thanks for your post. I gave it some thought as I considered my opinion. When I listen to music I often ask myself if this is something I should learn, if I’m capable of learning it to acceptable level, and If it’s possible for me to perform it. Im very interested in how to create that moment that the audience reacts to on an emotional level, and how to achieve it. I’m no big fan of flamenco on the piano but yesterday I saw a video where Dorantes created that moment in a spectacular way. The room erupted. Imo the trio does this in the improvisations with the players above average technique and improvisations. So to me if one is not capable of eliciting that feeling in a particular tune, the tune doesn’t work. In jazz it’s the solos people are waiting for. That is what brings the “ole” As you know in flamenco the moment can be created without blazing picado. A rhythmic twist, an unexpected resolution, a continuous ras, etc can all do it. Not every musician can regularly deliver this, but the ones that do stand out. When you listen to live versions of entre dos aguas it’s obvious what does it- the fast Picado. Because I don’t have that technique I’ve never performed it, and when I hear others do it, if they don’t make those runs, I admit I sort of dismiss the effort. With regard to performing the trio’s music you need at least two players who can do it. Another obstacle. And finally if you play a jazz standard you don’t necessarily have to live up to Charlie Parker’s solo because there are hundreds of versions recorded. With the trio it’s just the original that’s in the informed listeners ears.
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Date Mar. 3 2024 20:02:30
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