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.
|
|
Why do so many flamenco players use a capo?
|
You are logged in as Guest
|
Users viewing this topic: none
|
|
Login | |
|
El Kiko
Posts: 2697
Joined: Jun. 7 2010
From: The South Ireland
|
RE: Why do so many flamenco players ... (in reply to constructordeguitarras)
|
|
|
quote:
to adjust the key they were playing in for singers This is true .. a Male would sing open (no capo ) or up to 2nd fret normally, and female could be comfortable 3rd or up to the 5th fret , this is fairly normal , depending if you are in E maj (relative to the capo ) or A maj . Also some types of music are lighter and can sound better a bit higher , this is also to the players taste . Alegrias for example , which means "happyness" anyway . But other palos may need the full range of the guitar maybe Solear could be one meaning solitude or lonely you may need the bigger bass sound from the open E . And others again need even more , like a Rondeña or similar which has the low E string tuned down to a D , You can experiment , just get a tune , which ever you want and play it open , no capo , then try it again with capo on 1st , then again on 2nd etc.....see if you can hear what sounds best for that tune and also what feels best to play ... The typical Dunlop capos are good for this as they are very quick to move , and cheap .
_____________________________
Don't trust Atoms.....they make up everything.
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Feb. 12 2012 1:01:26
|
|
vuduchyld
Posts: 170
Joined: Feb. 20 2011
|
RE: Why do so many flamenco players ... (in reply to LBrandt)
|
|
|
quote:
So the reason guitar SOLO uses capo is because of the same reason. Playing for singing a lot you get a certain aire with your falsetas in certain positions. To retain the flavor of the nice things you do for your usual singer at 3 por medio....well...when you want to do your solo piece using some of the same material you will see that open position sounds kind of muddy or dead and want to capo up. Really interesting...I hadn't thought of it that way, but I'd imagine that must be true of advanced players with big repertoires. I read an interesting book chapter this weekend. The chapter was copied out of a book for me, so I can't tell you the name of the author or the book right now, but I can get it. The chapter was about perfect pitch. Most musicians probably have good relative pitch--can, for example, identify intervals of fourths, fifths, hear the difference between major and minor, etc... But it's actually a reasonably small percentage of folks who can hear a note, for example, and identify it as a C# or an E or whatever. Apparently, though, musicians with perfect pitch hear such different "colors" that it can really throw them off to hear a piece in a different key. I'd suspect that folks with perfect pitch or something approaching that kind of pitch are much more comfortable hearing and playing pieces and/or falsetas in different keys. It's not been a problem for me, but I'd suspect that many accomplished flamenco guitarists are more likely to have perfect pitch.
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Feb. 13 2012 3:44:11
|
|
Ricardo
Posts: 14889
Joined: Dec. 14 2004
From: Washington DC
|
RE: Why do so many flamenco players ... (in reply to Manitas de Lata)
|
|
|
quote:
In solo , falseta , falseta buleria etc , the capo position in fret 1 or 2 or 3 is the same criteria ? You are generalizing, but yes. A specific example would be a bit more explanatory. For example, I would have to avoid certain falsetas in my rep that were capo 4 or higher. I can play anything at zero, but for certain big stretch things where I won’t make a clean sustain due to reaching and muting unintentionally, it will be uncomfortable. So we need specific cases. In general compas strumming gets muddier the lower we play, and strumming sounds nicer, clearer, up higher. But if you want bass notes…this is why new tonalities were eventually explored. 6 por medio for example is often done in D# transposed, no capo, so the open E gets a nice sound relative to the barred material. I basically described the situation as it is today and practically, but I have since found interesting information about Renaissance vihuela. Bermudo talks about imagining 7 vihuela all tuned or pitched differently, in order to intabulate good vocal accompaniments, or “in tune the voz”, and our capo today replaces that concept simply. It is the same thing for the same reasons, and it goes back to the Renaissance. As the instrument evolved to a lower pitch class (actually it existed already as the E-la-mi vihuela), the capo became necessary to preserve the old vihuela and guitar tonalities I suspect. In absence of voice, the same concept applied as an aesthetic familiar pitch class.
_____________________________
CD's and transcriptions available here: www.ricardomarlow.com
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 11 2023 16:32:34
|
|
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 |
0.078125 secs.
|