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I assume that a Golpe is ALWAYS played on an accent of Palos?

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ORIGINAL: Kalo

Hi All,

I assume that a Golpe is ALWAYS played on an accent of Palos?

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I don't know that it's a good idea to associate gople with accents only. Every bulerias in the Juan Martin book has golpe's on 4 & 5 and not necessarily 12, 3, 6......similar in some Sabicas songs. I think the idea of golpe is to tell people where you are in the compas whether that's on the accented beats or not. I "feel" like it was probably invented as a way for the guitarist to communicate with the dancer. Although golpe'ing on the accented beats is one way to tell 'em where you are, it's not the only way. I've got no evidence to back this up but it seems right so I'm gunna run with it feel free people to "set me straight" if I'm off base by thinking this.

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You could say golpes go with the accents. That does NOT mean that e.g. in Bulerías you have golpes on every 12,3,7,8,10. It really depends where the accentuation is set especially when developing a melody in a falseta - or just to get the thumb rushing before an alzapúa. Don't try to find this kind of mechanical rules behind playing. Just study the masters and copy the masters...and one day you make up your own music

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I am learning the this Solea from Graf Martinez?? I should of re joined Jose's Website.

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Absolutely not. And the 1,4,7,9 is absolutely normal. Golpe is percussion nothing more. It would like be saying to a drummer "why did you hit the snare when it wasn't on the down beat?".

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Absolutely not. And the 1,4,7,9 is absolutely normal.

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ORIGINAL: Lenador

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Absolutely not. And the 1,4,7,9 is absolutely normal.

Time for me to go back to school............

I see, in a super basic beginners compas 1 starts it, 4 & 7 is a chord change and 9 is the beat before you spell out the root Emaj(is that considered a remate?) That doesn't seem as odd to me as I first thought.....I should have had a better base in counting to 12 before I started flamenco, I blame los angeles unified school district.......

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To be frank, vast majority of workshop or private students I encounter, regardless of how well or how much they have played, did not get a basic compas foundation from which to build from, and I end up showing EVERYONE pretty much the same thing, keeping a slow compas for solea as one might for an escobilla in a dance class. There is not really counting to 12 even, just keep a sold groove with strumming and arpegios. Counting doesn't need to even enter the picture till after we are all grooving at various tempos and controling time. For any palo to be honest (that has compas). I will say we may count as high as number 3 in some cases, but nothing more complex until the ball is rolling. Ricardo

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So, basically is it better to learn how to groove first than learn to count compas?