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question about PdL transcriptions
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a_arnold
Posts: 558
Joined: Jul. 30 2006
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question about PdL transcriptions
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I've been listening to PdL's La Plazuela (1971, "Recital de Guitarra") also on youtube, with the hope of learning it. So I got a tab/notation transcription of it (1976, published under his name) and discovered that the fingering is not only absolutely impossible, it also isn't written as he played it. Here's the weird thing. The recording is clearly in the "normal" bulerias key of A phrygian modulating to Am at the end (capo on 2), but the transcription is transposed to a totally different key, which renders the fingering impossible. I'm a good guitarist, and a competent judge of what can and what can't be done on a guitar. And I say this transcription can't be played. By anyone. Is it possible that this was done with the intent of discouraging people from learning PdL's repertoire? Certainly it would be discouraging to anyone who believed that he actually played it the way it is fingered. Clearly there is no need for PdL to undercut the competition in that way, but flamencos are notoriously protective of their compositions, so I wonder. Alternatively, PdL might have hired a non-guitarist (say, a pianist) to transcribe it from a recording to regular notation, and they did so without taking the capo into account, and then a classical guitarist wrote out the tab from the notation, doing the best job they could to finger it as written without a capo. That would make sense, as the tablature is fingered to play the notes in the key of B on open strings that PdL played using A phrygian hand positions with capo on second fret. Bottom line, neither version is useable. The tablature is nonsensical, and when I read notation, I instinctively read .as though it were written for guitar without capo. I can't transpose from B to A in my head. So -- does anybody know of a version of Plazuela that is actually written the way he plays it? In fact, does anyone here actually play Plazuela? I think, with some work, it is within my technical abilities, but it would be a lot of work to learn it from just listening to the recording. Help! Tony
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"Flamenco is so emotionally direct that a trained classical musician would require many years of highly disciplined formal study to fail to understand it."
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REPORT THIS POST AS INAPPROPRIATE |
Date Aug. 25 2011 2:56:06
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Ricardo
Posts: 14828
Joined: Dec. 14 2004
From: Washington DC
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RE: question about PdL transcriptions (in reply to a_arnold)
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This has been discussed much in the past. Jose Torregrosa transcribed all that paco material back in the day, using his piano obviously, so Paco could retain (c) rights in additions to (p) rights. That is, written score protection along with sound recording protection. I also have a similar score for some Camaron and Paco material. Jose was co producer and because he wrote those notes down, he also snuck in a little composer credit for himself. If you understand how that works, it was pretty lame and sneaky of him, although he certainly helped paco and family a lot. He also arranged the strings for the orchestra parts on Duende Flamenco. Anyway, since that was done, the PUBLISHER has an obligation to print that (c) material if they want to keep it in their catalogue. This same practice happens with all pop music, all arrangements are made by a hired pianist then they print the music in various forms to keep it up and keep making $ for the publisher, WHO OWNS THE (c). So whenever one of those books gets sold, PDL and Torregrossa both make some pennies. If you want accurate transcriptions, the best are done by Alain Faucher at Affedis who deals black market-under the table style and keeps all the money for himself. I am sure he has that buleria. You can decide what you want to do with this info. In addition, Paco and his brother Ramon reclaimed some rights from the publishers to make new MORE accurate transcriptions for legal sale, SPECIFICALLY to force Alain Faucher to go underground with his advertising. I recommend Fantasia Flamenca and Fuente y Caudal. the first book in the series is not so accurate saddly, and the last one (Almoraima) I have not seen.
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CD's and transcriptions available here: www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Aug. 26 2011 14:24:51
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Ricardo
Posts: 14828
Joined: Dec. 14 2004
From: Washington DC
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RE: question about PdL transcriptions (in reply to Paul Magnussen)
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quote:
Juan Serrano told me (some time ago, 1987, so it may have changed since) that to claim 100% copyright as a composer in Spain, you have to be a member of the Sociedad de Autores; Interesting. I am only familiar with US copyright law. Really what happens is the PUBLISHER owns the copyright, and they pay the composers, arrangers, piano transcribers, etc, percentages based on what their contracts were originally. For example maybe PDL gets 5% as co composer, Torregrossa the other 5%, but then he gets extra 10% or a flat rate for transcribing etc. In the end, the one that profits the most from a printed music score being sold, is the publisher. Ricardo
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CD's and transcriptions available here: www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Aug. 26 2011 16:08:21
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