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RE: All Flamenco chords in Tab (in reply to Led00)
quote:
ORIGINAL: Led00
Yeah, but I really have a feeling that I am missing one note... not sure which thou...
Yes, it must be power chords (whatever those are :-).
I don't have the energy to check all the details but at first ear it sounds like shifting 9-chords in full barree covering 1th, 3th and 4th position like
(the 9 part is the note covered by the b-string. In musical terms it is the note next in line on the alphabet compared to the root note of the chord, so in C it's d, in Bb it's c etc.).
If i'm wrong i'm sure someone will tell us.... chords like these are nice to know anyway.
RE: All Flamenco chords in Tab (in reply to Led00)
You know, I could put all these chords in notation/TAB format in an archived file that will actually play the chords back, if anyone is interested. That way, you can see the TAB, see the Notation, and hear what it will sound like. Just a suggestion.
RE: All Flamenco chords in Tab (in reply to Ricardo)
Greetings Ricardo, I put your "A" flamenco chords into a file that shows TAB, notation, and chord fretboard fingering. I had to reduce the file greatly because this foro has very little options for files so the quality is much reduced (we can examine some other means of sharing this file, that is if people are interested). I have not completed it or proofed for mistakes yet, but you can get a general idea. If you and others here think this is of interest, I will complete the "A" chords and then proceed to include all the others you so kindly posted. This was done in Finale 2012 and the original file can actually be "played" using a free reading version from the Finale MakeMusic web page. Personally, I find notation to be of great value when used in conjunction with the TAB and chord symbols. Please let me know if you like this, or not, and make suggestions. I send you greetings from tropical Panama.
Posts: 15722
Joined: Dec. 14 2004
From: Washington DC
RE: All Flamenco chords in Tab (in reply to Robug)
quote:
ORIGINAL: Robug
Greetings Ricardo, I put your "A" flamenco chords into a file that shows TAB, notation, and chord fretboard fingering. I had to reduce the file greatly because this foro has very little options for files so the quality is much reduced (we can examine some other means of sharing this file, that is if people are interested). I have not completed it or proofed for mistakes yet, but you can get a general idea. If you and others here think this is of interest, I will complete the "A" chords and then proceed to include all the others you so kindly posted. This was done in Finale 2012 and the original file can actually be "played" using a free reading version from the Finale MakeMusic web page. Personally, I find notation to be of great value when used in conjunction with the TAB and chord symbols. Please let me know if you like this, or not, and make suggestions. I send you greetings from tropical Panama.
Posts: 15722
Joined: Dec. 14 2004
From: Washington DC
RE: All Flamenco chords in Tab (in reply to Paul Magnussen)
Power chords have roots and 5ths or 4th intervals only. In Vicente case above the chord is barred and Eric has it right but the note is called "sus2" instead of "9". 9 implies the chord contains the 3rd and 7th as well, which is not the case. Chords stack as such in thirds (1-3-5-7-9-11-13...if you dont' make it to 7 you don't use 9,11,13, you instead use sus2,4 or just 6...you can use "add"9 or 11 if the 3rd is present).
The "sus" means the third interval (which determines the quality of a chord being major or minor) is suspended...possibly to resolve in the future with the sus note moving up (from sus2) or down (sus4) with the other two intervals holding (root and 5th). In the Vicente example, all those chords could be substituted for either major triad barre chords, or dominant 7 barres with similar musical effect in context of flamenco. Point being, the theory behind the names of the chord is arbitrary in comparison to the musical point to rematar his falseta. Doubling roots and 5th tends to make the chords "growl" nicely, hence the term "power" used in Rock.
I remember as a kid learning power chords for Iron Man and such type of songs, my dad was not happy with the term "chord" as they were only "intervals" to him. A "chord" by definition must contain 3 different notes (not including octaves), so he said. I used to roll my eyes...now a days I accept that different music disciplines will have their own terminology.
RE: All Flamenco chords in Tab (in reply to Ricardo)
The funny thing with the power chord thing in guitar playing is that leaving out the tonic (results in a 4th, which is an inverted fifth) gives a more mean and agressive sound than what would be expected (the lower the register of the notes you play, the more metal it "should" sound).
From what I hear, Vicente often uses inversions not for voice leading purposes but for the sound effect he wants to get out of that particular chord (the growl Ricardo mentioned). That being said, I totally agree that in this case there shouldn't be much thought given about theoretical reasons behind the approach.
RE: All Flamenco chords in Tab (in reply to Led00)
It's tough but possible, one of my teachers has that in a falseta he was teaching me. Pinky on 6 index on the first set of 2's and middle finger on the last 2.
RE: All Flamenco chords in Tab (in reply to Led00)
Switching to this chord is very difficult. I was looking for an A chord with something on the low E sixth fret for extending an alzapua I had in mind. But dosent look like it will be happening for a while now.
Don't mean to hog the thread. Restoring original thread.....😀
RE: All Flamenco chords in Tab (in reply to revendel)
Why not use everything else that's reachable to you on the 6th string? Try fooling around with F (1st fret) and G (3rd fret) and pass through G# (4th fret) when you want to lead back to A... just an idea.
I would appreciate it if someone could explain to me how the following chord in this thread is humanly possible.
E-0- B-2- G-2- D-2- A-0- E-6-
Part of the reason I started this thread was because this topic of chord voicing comes up often and there are some interesting left hand techniques you don't find in other guitar styles. "Andalusian hand Jive" estebanan called it once.
I have small hands and can grab this chord no problem even quick amidst some fast bass note falsetas etc., even my 670mm scale guitar no capo. The first trick to master is the half barre by bending the index first joint in a way to get the 4th,3rd and 2nd strings held with the top E string open. It's a matter of milimeters, most students will mute accidently the first string at first attemps. Next the pinky stretch is achieved by using thumb down very low behind the neck, the wrist almost straight and the elbow tucking quite close to your rib cage, in effect pointing your forearm back toward the headstock.
As some one said use of capo will make this chord more comfy.
I would appreciate it if someone could explain to me how the following chord in this thread is humanly possible.
E-0- B-2- G-2- D-2- A-0- E-6-
Part of the reason I started this thread was because this topic of chord voicing comes up often and there are some interesting left hand techniques you don't find in other guitar styles. "Andalusian hand Jive" estebanan called it once.
I have small hands and can grab this chord no problem even quick amidst some fast bass note falsetas etc., even my 670mm scale guitar no capo.
See you and raise you one, I can make pinky to 7th
HOW!? Where is your thumb placed, behind second or first finger? And below fret board center or at the center line?
My hands are made from solid metal, gonna take ages to flex like that.
I can get to 7th fret too. The thumb is way below the center line, almost down to the ebony board below the first string, and about centered under the third fret. My elbow is way in near my ribs.
ORIGINAL: revendel HOW!? Where is your thumb placed, behind second or first finger? And below fret board center or at the center line?
Ricardo already described forming the chord, spot on. Do what he says and the thumb position takes care of itself. My thumb is kind of behind the fourth fret, low down on the back of the neck below the centre.
Granted you need quite flexible joints to get that arched partial barre with the index though.
you need quite flexible joints to get that arched partial barre with the index though.
I can do it with my 1st and 4th fingers, but not with my 3rd. 3rd & 4th are useful because you can use them to play a B shape, which is especially handy at the higher frets. If your 3rd is flexible enough then you can also get B7 by adding the 4th finger on the 1st string, and B6 by flattening out the 3rd.
This technique is also handy with jazz chords, for instance B9: (F#)-B-D#-A-C#-F#; or with the occasional classical piece, for instance Francisco Calleja’s Cancion Triste.
RE: All Flamenco chords in Tab (in reply to Led00)
I also got to the 7th fret with the pinky, but then I discovered something else...
0 0 2 2 0 8
Index almost along the fretboard, middle and ring on the back of the neck (near the 6th string), pinky at 8th and thumb just touching the edge of the ebony near the 1st string.
Sounds really nice! Asus2/C or a first inversion A minor chord add ninth.
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