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Jucal Transcription by Alain Faucher
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constructordeguitarras
Posts: 1677
Joined: Jan. 29 2012
From: Seattle, Washington, USA
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 Jucal Transcription by Alain Faucher
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I'm trying to learn Gerardo Nuñez's Jucal bulerias from the transcription in this book but I'm not really a music reader. Can someone who reads music well help me with this difficulty?
The key signature has five sharps: F,C,G,D,and A. It seems to me that there are some errors because, for example, at the end of the third line on page 29 (the second page of the transcription), the measure starts with a note indicated on the TAB as being on the 5th fret of the 5th string (D, right?) but in the notation it is written as C. I suspect that the TAB is correct, but I'm not sure. Later in the same measure there is a note that is a C sharp, 4th fret of the 5th string, but why in the notation is it given a sharp sign when it is already sharped in the key signature? Does this have something to do with the other C/D? Same thing again on p 31, first line, second measure.
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REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 30 2013 16:06:12
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Ricardo
Posts: 14854
Joined: Dec. 14 2004
From: Washington DC
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RE: Jucal Transcription by Alain Faucher (in reply to constructordeguitarras)
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This a unique case of music theory nerdery at it's best. Truth is Faucher has it correct BUT, I take issue in practicality because one should think harmonically with guitar music. When studying music theory in school I was quite secure using my understanding of the circle of 5th to solve or reduce any music examples down to a home scale/key signature relation....UNTIL the dreaded AUGMENTED 6TH chords harmony. THis arises first studying music of Mozart in school. Lo and behold I encountered this weird theory phenomenon in my beloved flamenco music EVERYWHERE. Here is what is going on.
When talking of harmony and scale, you can't skip or repeat a letter in the 7 letter alphabet of music. Lets take E phrygian instead of D# phrygian as the example:
EFGABCD....
There occures in flamenco accidental notes (of course) such as G#. You don't call it Ab for a couple reason:
EFAbABCD....that is no good because the G placement in the scale has disappeared. That is the scale reason, the harmonic reason is:
EAbBD.....that "chord" is not a real chord because a chord is defined by staking third intervals. E-Ab is a FOURTH by it's spelling so even though it SOUNDS like a chord the spelling of it is wrong because there is no way to make a root out of some other note. (technically you could try different ways, but it is a clue that there is some violation of basic music rules here and some simple error of naming the notes is going on).
To transpose Nuñez to E phrygian as above examples we have the raised 7th of this phyrigian scale. That would be D#. Now here is the problem. When I encountered Aug 6th chords it was a bizzare case of a dog biting his tail. The stacked 3rds spell this:
D#FAC....that is the French 6th (or german or italian I can't remember and don't care sorry LOL) and always found in first inversion so you have:
FACD#....now my guitar playing instinct found that to be quite fishy. Because it is a simple basic Domiant 7th. THe function here is this move VI7-V7...and in classical this would move to i or A MINOR in our case. Flamenco is not classical and this move is borrowed to make the E a stronger tonic. BUt a dominant 7 chord built on F is necessarily spelled FAC Eb!!!!!!!! not D#, now way ever.
So I realized that a deliberate MISS SPELLING Of the chord is done for the sake of VOICE LEADING....that means it is easier for a vocalist to read a D# that resolves to an E note, vs an Eb that resolves to an E natural .....ON PAPER.
So going back to Jucal, Faucher is following complex rules of scale and voice leading to notate the melody RATHER than the simple rules of harmony construction.
I am of the opinion that as a player I prefer the simple approach, as the intent of Nuñez is about the harmonic move implied by the note (thanks to the E drone bass) so we have actually a very clear E DOMINANT 7 chord (EG#BD) ....of course it pulls to tonic D# nicely, but the argument is over the importance of voice leading (CX) or harmonic spelling (D natural). I don't consider it a mistake on Faucher's part in any way. But I have absolutely NO PROBLEM with anybody spelling it D natural, thanks to that E bass note.
HOpe that makes some sense. Now this key (5#'s) is unique that we do have an odd double sharp requirement being the F double sharp, which we guitar players know is a ridiculous way to describe the open G string, but is in this case "correct" in every way. To describe the entire piece in Eb instead of D# will encounter more trouble than it's worth. (getting rid of the double sharp we encounter worse non guitaristic things such as Fb open strings, Cb open string etc....). So it's a necessary evil so to speak, that double sharp, in this piece and any others in this key.
Ricardo
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CD's and transcriptions available here:
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REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 1 2013 13:19:17
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Ricardo
Posts: 14854
Joined: Dec. 14 2004
From: Washington DC
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RE: Jucal Transcription by Alain Faucher (in reply to constructordeguitarras)
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quote:
ORIGINAL: constructordeguitarras
This is what I was talking about. Didn't mean to start a war. 
Making the best out of available symbols. There is no standard for notating flamenco techniques, but for standard notation there is. Anyway, Faucher is really good, probably the best around, but I noticed something funny years ago. He puts little tiny mistakes, I believe on purpose, in order to catch plagerizers. The mistakes are always compas issues, the kind that any good player or reader could spot, and subtle enough that if you DO spot them, you can easily fix them when you play. Jucal is no exception, and the small mistakes occur in two spots.
First page 39 bottom entire system (actually the measure before the rasgueado should continue to beat 11, not stop on 10), needs to shift to the right a half beat, the triplets should be expressed as galloped 16ths (8th and 2 16ths not triplets), and the last arpegio also should shift a full beat to the right. Next page back on track.
Next page 45, second system all the way to count 6 at the bottom of the page. needs to shift a full beat to the right again (the D# chord on count 12 is correct however)....the last note (F double sharp) needs to land a half beat before count 6 (the D natural on last measure of 3rd system also needs to be an 8th note and pull back half a beat all the rest of the phrase).
Considering the razor sharp accuracy of the rest of the piece, these little spots seem really really odd to me. Knowing that he has these odd little errors in most of his transcriptions, I believe they are deliberate. He accused Encuentro of stealing his works, and I indeed noticed that they copied some of his errors....like cheating on a test in school and getting the exact same things correct and wrong. Regardless, I do recommend both his work AND encuentro for serious students.
Ricardo
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_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 2 2013 13:11:47
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mark indigo
Posts: 3625
Joined: Dec. 5 2007
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RE: Jucal Transcription by Alain Faucher (in reply to Ricardo)
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quote:
Anyway, Faucher is really good, probably the best around, but I noticed something funny years ago. He puts little tiny mistakes, I believe on purpose, in order to catch plagerizers. The mistakes are always compas issues, the kind that any good player or reader could spot, and subtle enough that if you DO spot them, you can easily fix them when you play.
I assumed some of the differences in AF's music books were because (AFAIK) unlike the handwritten tab only transcriptions he sells he makes the books with the co-operation of the artists, and video's them playing the pieces he transcribes, often with differences of detail, timing, syncopation etc.
but some of his old handwritten transcriptions of fandangos were really odd, bar lines put in really odd places (not where you would count 1 2 3) and other odd things like really far out fingering positions, so they look like mistakes that I couldn't understand (given the obvious accuracy of everything else) except as intentional.
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REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 2 2013 15:59:48
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