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Can Anyone Help Me?
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srshea
Posts: 833
Joined: Oct. 29 2006
From: Olympia, WA in the Great Pacific Northwest
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 RE: Can Anyone Help Me? (in reply to mrodrigo24)
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I think this is probably the eight billionth time Ricardo has posted that advice, and what he says is absolutely true. A very good and very simple way to follow up on that would be to go to the “Classic falsetas por arriba” page on Norman Kilman’s site: Basic Solea Falsetas
Everything you need to put together a basic, beginner’s level solea “piece” is all there. All those falsetas are classic, standard stuff, and you’ll hear them, or variations on them, EVERYWHERE, particularly in older, classic accompaniment playing. Pick a handful of them that you like and that you feel confident you can master and then work on each one individually. Just focus on each falseta as a discrete, isolated unit, and don’t worry about putting them all together just yet.
Once you’ve learned five or six of the falsetas and can play them confidently, without referring to the tabs, and at the same tempo, then you can start putting them together. Norman’s provided some commentary that offers help regarding how they can be used and how they might work together. The best way to figure out how to put them together is to do a lot of close listening to good, classic stuff until you recognize similar falsetas and can hear for yourself how the “old masters” used them. Some of them work better than others when played back to back; some of them sound good as introductions; etc.
I sure aint no Old Master, myself, but here’s a recipe for a way to put some of this stuff together in a short, simple performance:
1
Falseta 5 makes for a good introduction. Playing it twice as your intro would work nicely. (This will be the case with many falsetas. Playing the same falseta twice in a row sets up a very simple form of the “question/answer” dynamic that runs throughout flamenco.)
2
Falseta 6 isn’t actually a falseta. It’s the standard compas strumming that will provide the “filler” between the falsetas. This is the basic rhythmic foundation for solea that keeps everything grounded and provides a base to play the falsetas against. For the purposes of this “recipe” this is what you’ll be playing between your falsetas. Play it once or twice.
3
Play Falseta 2 and Falseta 3 back to back.
4
Falseta 6 again, once or twice.
5
Falseta 1. I like to play this one twice in a row.
6
Falseta 6, yet again, once or twice.
7
Falseta 9. You could play it twice in a row or you could play Falseta 9 followed by Falseta 11.
8
Good ol’ Falseta 6, one last time.
9
Finish ‘er up with some kind of “outro”. This is actually the one ingredient that’s not included on Norman’s solea page. The simplest thing to do would be to play a kind of droning open E chord thing on beats one through ten. Play one index finger downstroke on each beat, accenting beats 3,6,8, and 10, letting the final stroke ring. You could jazz this up a bit by doing a hammer-on from fret two to three on the D string after each downstroke.
(Note: each falseta should end with a “remate” on the last three beats of each twelve beat measure or phrase. In some of the tabs and the recordings on Norman’s page the remate is not included. Those are the ones that just have an open E note at the end. It’s assumed that you’ll put a remate there in the last three beats. See “Remates 1-3” for the most basic ones.)
That’s it. You’re not gonna knock anyone out of their seat with that, but it’s a good place to start. From there you can keep adding to your repertoire of falsetas, adding variations on your compas strumming, adding different remates, and over time you’ll develop a better and better sense of how all those various pieces of the puzzle fit together. Good luck!
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REPORT THIS POST AS INAPPROPRIATE |
Date May 12 2010 11:41:43
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gato
Posts: 322
Joined: Jun. 9 2007
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RE: Can Anyone Help Me? (in reply to mrodrigo24)
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I would like to agree with Ricardo, only I would say this way, play THEMES, that you may have heard or take them out of formal pieces and transcriptions, and work with them. Keep them simple, and add what you will. After learning about flamenco rhythm and enough technique to get you started, this practice can get you far. You may make themes out of falsetas or just bits and pieces of larger works.
You see, what you put in to it makes it your's and that is what we all need. Having said that, you might as well, go out and buy some stave paper and pencils and a ruler, and work them out, and then transfer them to a good typesetting program and keep them.
You will find this process a life long obsession, and really it's what takes you to an independant level, while building on basic flamenco idea's. And themes are a starting place only, you write out the basic concepts and work from them. Getting ideas from others is a time honored way of sharing and continuing the common thread and and what you make can be taken in this way from others down the line, but careful study of the form and dynamics of the music gets you to the overall process of continuance of essential and tradiditional ideas and of course the work of departure. It's an essential process that you learn, and I reccomend it to everyone.
Gary
Oh yeah, a good transcription program can help, look on the internet for something and perhaps you can get it free. This way you can record the idea and slow it down and write out the notes. Very useful, I use mine a lot. You can even transcribe from cd's or sound files of parts taken from recorded work from the masters....It's a lot of work but it's also a major process of writing out things that you have played or heard. A standard discipline. Developing a good shorthand technique is also very helpful.
Learn to sketch out your ideas and keep them simple and remember that the passion and the art of the music is not necessarily what you have written down but what you are inspired to play!
EDIT: remember to consider and comform to all copyright laws and remember that the rights may or may not alow you to use music whole or in part with the consent of the owner, and that the owner may set the order of payment with consent of use and that damages may be imposed for use without proper consent and compensation. With consent and payment you are allowed to use said content by the implyed conditions of the owner, and that property is available for use and that copyright laws are made to protect the owner not to damn the arts. Learn the business aspect of using music which is the private property of others before you make mistakes, and remember that such use is to be made also in form of credit for the artist, when you base work on a theme, or musical peice in part or in whole.
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REPORT THIS POST AS INAPPROPRIATE |
Date May 12 2010 19:07:08
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gato
Posts: 322
Joined: Jun. 9 2007
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RE: Can Anyone Help Me? (in reply to mrodrigo24)
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You know, I've been thinking about it, if you play in the manner of someone else you may have to get prior consent, pay a fee or percentage of your earnings, and follow the conditions of the property owner, and what that means is if you don't have your own specific style and technique it may not be worth all the effort to learn to play like someone who is in business and may own copyrights pertaining to his individual style, and what that means is that it may be provable in court of law and damages claims may result.
So if you immerse in to a particular artist's technique and style and it is provable that you have in deed taken it out of copyrighted material, you could owe big, if you are indeed persueing your music professionally.
So the idea is that you really have to consider his rights or the rights of the content owner before you go out and try to make a name for yourself. So the question is basically this, why wouldn't you invent your own style and handling unless you take care of business aspect, and this gets in to tricky situations if you record, teach or perform in the manner of someone else without doing all of the work to secure the rights to it?
I don't know, but it is a really important thing to consider if you go out and perform and sell your work and especially on the Internet! The thought makes me sick. You may say 'I play like I do', but do you? And then the one thing that you have to pay attention to is what you are bombarding yourself with by collecting albums and transpositions or scores form your idols. Is it plausable? Do you care to know? I am quite sure that there are a lot of performers out there who are angry at the loss of their technique to others and would jump at the chance to protect it. That's why I don't want to play like anyone else, and I try desperately to keep it that way. Life is hard enough than to keep track of it all.
Gary
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Date May 26 2010 20:00:58
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