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things still blur to me in flamenco - help please??
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Haithamflamenco
Posts: 927
Joined: Mar. 6 2007
From: Bahrain
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 things still blur to me in flamenco ...
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hola flamencos,
ummmmmmmm,
i have some problems in understading some parts about flamenco,
i am working on my techniques, playing my level falsetas,
pratcing on the compass, i am feeling the dunde,
but,
there are still alot of things that they are blur to tme untill now ,
like:
1. how long should the flasta be in the alegria or buleria or any other style? where it begine and where it start?
2. what are the flamenco vocabulary, like remata? what are they and how can i undertand them??
3. how many compass form iare in the buleria?? why they are diffrente?
4. what dose the key mean? like A major key,or B minor key?? how can i know all the chords of the key and all the scales that match with it??
5. what make buleria de jerez diffrente for the other buerlias??
6. what is vlase buleria??
7. are there diffrente from the old school techniques to the modern shcool techniques??
8. how can i find my ideal finger nails length? and how can i keep is at the same lenght??
answering this qustion will really open alot of doors for me,
please amigos y amigas give me your advices,
if there is any books or article will help, please list it,
thanks all 
_____________________________
Bahrain is my country and Andalucia is my dream
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 3 2007 8:32:35
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Ricardo
Posts: 14819
Joined: Dec. 14 2004
From: Washington DC
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 RE: things still blur to me in flame... (in reply to Haithamflamenco)
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1. Any length, it is up to you. And you can fit falsetas together or cut them short as you please. They are usually defined between sections of compas strumming, but if you chose to define them as two back to back then you can name the division point at whatever beat the new falseta starts. A falseta can start on any beat. I usually think of falsetas that start around count 9 or 10, "pick up notes", and of course in bulerias count 3 or 4 can also be pick ups in the half compas.
2. Remate I think of as an ending phrase, it can be rhythmic strumming or notes, but the point is you give the feeling that things are ending. In bulerias the counts 7 -10 are important to close the stuff that was going on (falseta or line of cante, little footwork, etc), and in solea 10-12 as mentioned. Tangos has it's own even though it is in 4. It is a characteristic feature, along with cierre, the literally closing beat or sequence of chords, of flamenco that distinguishes it's rhythm from similar rhythms of other music.
3. Well some say there are a set number, but when you take into account the variations done by modern players, there seems there can be an infinite number of compas variations. IMO there are really just two different grooves, 2x3 or 3x2, but you can mix and match these two fundamental "feels" how you like, WITHIN limits of good taste and style. To learn those limits, you should not make up your own grooves until you have first learned a bunch of strumming patterns and grooves from the maestros.
4. Well, in music theory terms you can learn key/chord/scale relationships by studying the CIRCLE OF 5THs diagram. But in flamenco, the keys on GUITAR as opposed to a piano say, have a special sound because of the open strings. This special timbre translates to the typical "aire" of a form. For example, Taranta in F# phrygian has a characteristic sound, but the same notes on piano won't have the same special sound. That is why the cejilla is important, to change the absolute key/pitch while maintaining the "aire" that the special key affords the guitar.
5. Along the lines of question 3, it is the groove, the rhythmic interpretation mainly, but also there are specific songs (melodies of the cante) that are typical jerez style. But for guitar is that swing or groove that distinguishes it. IF you have Tomatito encuentro, he plays two bulerias. The first one is his own personal modern style, the ending before the credits has the "Jerez" swing. Notice the difference even though he plays some of the same falsetas and remates.
6.Any melody that is made of 3x2 subdivision, that you might force into the compas of bulerias. Just a verbal way to distinguish a melodic composition from a more tradtional style improvisation of unrelated falsetas, that uses the bulerias compas. Typically a valse buleria won't have lots of rasgueado for example, but there is no special rules really.
7. If you consider Paco's "Fantasia Flamenca" from 1969 "old school", then no. There are however PERSONAL techniques that can give a general impression of old or new style, but you will find something similar in old or new players alike. For example, modern players tend to not do the 5 stroke rasgueado so much, but what they do instead, or more often (4 stroke amii, etc), was done by old timers too. In the end it is personal no matter which style you are playing. Most of the techniques of today were well established in Ramon Montoya's day. Check him out. The way techniques are used nowadays, is another story.
8. You experiment. Basically, as long as the tip of your finger is as short as you should go. You can have them longer if you prefer, but it really all depends on your nail shape, and way to play. You keep them at the desired length by filing them and careing for them everyday.
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 3 2007 15:14:03
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Adam
Posts: 1156
Joined: Dec. 6 2006
From: Hamilton, ON
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RE: things still blur to me in flame... (in reply to Haithamflamenco)
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eccullen, the solea remate is some variation over this theme:
E||-------0--------------|-------0----||
B||----------------------|--0---------||
G||-----------------1----|------------||
D||------------2---------|------------||
A||----------------------|------------||
E||--0-------------------|------------||
Holding down an EM chord. Common variations include playing that with p-i-p-p-p-i, p-a-p-i-m-a, replacing the second note (the open E) with an arpeggio on the top three strings (in the same beat), a golpe (usually on the second-to-last note, the open B), and doing the 2-1-0 notes in the middle as a pulgar y indice sort of thing alternating the thumb picking the "bass" note with the index picking the open E. In the version I showed, the first two notes are beat 10, the second two are beat 11, and the final are beat 12 (so you typically accent the open low E and the open B). Any variations should fit within that.
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 3 2007 19:32:55
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Well, good questions all, and I'm particularly interested in 4, 5, and 7.
