Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
|
Query re: 'Cepa Andaluza' PdL
|
You are logged in as Guest
|
|
Users viewing this topic: none
|
|
Login  | |
|
   
Adam
Posts: 1156
Joined: Dec. 6 2006
From: Hamilton, ON
|
 RE: Query re: 'Cepa Andaluza' PdL (in reply to jaggedsphere)
|
|
|
It's definitely a bulería, and a fairly standard one at that. I mean, the falsetas often border on ridiculous - especially for the time when this piece came out - but the structure is nothing out of the ordinary. Falseta, compás, falseta, compás, etc., and the compases are, for the most part, pretty normal as well. Just the usual A to Bb, etc.
A couple of random facts.... One is that it starts with a media compás, so on the 6 (or so) rather than the 12, which is mildly unusual. Another fun thing in that piece is the chord progression at the end. It's a cool way to end the song. The part where he plays around with an A7 chord (5:10-5:14 or so - technically C7 since there's a capo on the third fret) could easily be used to transition the bulería from major into minor - you can hear a classic example of this in his slightly earlier bulería El Tempúl where that A7 goes into a Dm, G7, C, and then Dm, Am, E7, Am to establish the fact that you've ended up in A minor. If you haven't heard that piece, check it out, the A minor falseta he does at the end is excellent.
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jul. 15 2011 18:24:32
 |
|
jaggedsphere
Posts: 146
Joined: Feb. 6 2010
From: Ottawa/Toronto
|
|
RE: Query re: 'Cepa Andaluza' PdL (in reply to Adam)
|
|
|
Oh muy bien. This is really helps me understand the lay of the land in the flamenco world.
Much to learn in flamenco! I have mainly been listening as opposed to reading...But the ear being more smart than the mind hears patterns and similarities.
Soon there is a juerga(thanks again to you ramparts for the vocabulary lesson in the previous thread) in Ottawa here and I am so very excited!
I think next week I will be on a Sabicas kick. This week is PdL. :)
quote:
It's definitely a bulería, and a fairly standard one at that. I mean, the falsetas often border on ridiculous - especially for the time when this piece came out - but the structure is nothing out of the ordinary. Falseta, compás, falseta, compás, etc., and the compases are, for the most part, pretty normal as well. Just the usual A to Bb, etc.
A couple of random facts.... One is that it starts with a media compás, so on the 6 (or so) rather than the 12, which is mildly unusual. Another fun thing in that piece is the chord progression at the end. It's a cool way to end the song. The part where he plays around with an A7 chord (5:10-5:14 or so - technically C7 since there's a capo on the third fret) could easily be used to transition the bulería from major into minor - you can hear a classic example of this in his slightly earlier bulería El Tempúl where that A7 goes into a Dm, G7, C, and then Dm, Am, E7, Am to establish the fact that you've ended up in A minor. If you haven't heard that piece, check it out, the A minor falseta he does at the end is excellent.
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Jul. 15 2011 19:44:11
|
|
 New Messages |
 No New Messages |
 Hot Topic w/ New Messages |
 Hot Topic w/o New Messages |
 Locked w/ New Messages |
 Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
0.0625 secs.
|
Printable Version
, a lot of rasgueados and paco uses his thumb A LOT in these falsetas... 
