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.
just watch carefully, and you see that sometimes it doesn't match.
best parts for finding out if a video is playback or not, is not the falsetas but compas parts, because everyone always plays them sometimes slightly different and can't memorize every detail in them all the time - not like falsetas.
like here at 1.03 - 1.05
or 1.38 - 1.42
just watch the right hand and listen.
i think this vid was uploaded years ago by ricardo.
Posts: 14801
Joined: Dec. 14 2004
From: Washington DC
RE: Javier Conde Bulerias!! (in reply to Pgh_flamenco)
quote:
t’s not so much chords, but chord voicings that make a chord a jazz chord as opposed to just a 13th chord, etc.
Good point. Although not sure if you are trying to say modern flamenco is using jazz voicings because I would agree with toddk in the sense that the voicings flamenco players are using are more in tune, or evolved out of traditional flamenco vs say what jazz guitarists do. When PDL plays a "fusion" tune sitting next to J. Mclaughlin, one can easily see even on the same exact song Paco is using his own voicing for most progressions. His voicings are part of the flamenco language of harmony, not the jazz language.
The ii-V-I gerardo uses in Jucal for example (1:11) I can explain in detail what he is doing and why it is very "exotic" to any jazz player because of the way he voices, jumps positions and uses barre chord postions, mixes in the harmonic minor scale, allows the 4th to ring out over the major 7 chord since it is an open string etc... All not normal jazz voicing. Then an other brazillian bossa style ii-V-i in G#minor occurs which is almost normal like in bossa nova, but he does not resolve and turns it around to go back to the modal key. Again, a very "not normal" way to use what could otherwise be construed as a normal jazz or bossa nova progression.
Nuñez does however make use of superlocrian in this piece, although very brief (2:22). The modes of melodic minor occured in old school flamenco often too, but the influence was spanish classical such as Falla, not jazz IMO. Also he uses the diminshed 7th a few times to walk down like some old jazz guitarists would do. But sabicas (was he old school enough?) did the same thing. All the rest seems to simply be unique fingerings of normal "por medio" type falsetas in the upper position. Notice his brother in law has no problem accompanying him with orthodox buleria por medio chords capoed at 6.
Printable Version
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