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Posts: 2879
Joined: Jan. 30 2007
From: London (the South of it), England
Alegrias in C
Hello, I would like to know what chords are/can be used when accompanying alegria in c? Sure I know it's C G F. As opposed E B7 A in Alegrias E.
But what would be the F#m7 equivalent be in C? Or the Abm7 equivalent? Is it simply a matter of counting back two notes for each chord? then adding our taking away fingers to find that flat or sharp or seventh or minor ?
Also does anyone know any nice silencios in C? Or could give me advice on how to compose one?
The alegrias in Paco de lucias Almoraima is in C...well its the cantiñas. There is a silencio in that composition....alain faucher transcribed it and its easy to find For the chords I use C to A to Dminor then G7 back to C.
I hope you are not making problems for yourself While the cante (in Cádiz at least) is almost always accompanied in C, the dance is almost always accompanied in E, because it gives an easy transition to the Bulerías de Cadiz.
Curiously, Cantiñas are almost always accompanied in E, possibly because they are often sung to accompany baile por Alegrías.
Of course, anything can be accompanied in any key, these are only general rules.
Here is a Cantiñas example I’m studying the hell out of. I’ve gotten the falsetas out already, and most of the nice compass detalles. It’s Chicuelo with Miguel Poveda. It’s helped me a lot. I use it to change things up; instead of playing for cante al aire in Emaj I put the cejilla al 4 y ya esta. The track Pimientito is talking about is “a la Perla de Cadiz”, it’s a great silencio. Im actually learning it myself. Hope this helps.
First of all, it's proper to say "G#m7" due to the key signature. What happens is if you capo up 4 frets and play in C major, you are playing actually in E major relative to an instrument with no capo. So you have to reverse engineer all the chord progressions and falsetas you have in E by going down 4 frets (or down a major 3rd interval). So your G#m7 is now Em7 (in C). Your F#m7 will be Dm7, C#m7 would be Am7, your C->B7 type half-step move will be Ab->G7, F#7-B7 becomes D7->G7, etc.
As mentioned C minor silencio is odd but Paco did it, and I read but never heard supposeddly there is a version by Sabicas. Silencio doesn't reall have to be in C though you can modulate to Am for example but have to resolve back to C somehow. In any case if I play with another guitarist for baile, I might choose to play in C with capo 4 frets higher than the other guy, it's a nice sound together.
As mentioned C minor silencio is odd but Paco did it, and I read but never heard supposeddly there is a version by Sabicas.
Presumably that’s Flores gaditanas, from Flamenco Reflections: it appears in C Minor in Volume 2 of José Fuente’s transcriptions.
I haven‘t yet checked this. Personally I would just have assumed that it was in A Minor capo’d at 3, but Sr. Fuente’s transcriptions are usually pretty competent.
P.S. I’ve just had a listen, and there are low E’s and F’s in it, which of course would be impossible with the capo on. The rest of the transcription seems pretty good too.
Looks like M. Faucher’s finally getting some competition…
As mentioned C minor silencio is odd but Paco did it, and I read but never heard supposeddly there is a version by Sabicas.
Presumably that’s Flores gaditanas, from Flamenco Reflections: it appears in C Minor in Volume 2 of José Fuente’s transcriptions.
I haven‘t yet checked this. Personally I would just have assumed that it was in A Minor capo’d at 3, but Sr. Fuente’s transcriptions are usually pretty competent.
P.S. I’ve just had a listen, and there are low E’s and F’s in it, which of course would be impossible with the capo on. The rest of the transcription seems pretty good too.
Looks like M. Faucher’s finally getting some competition…
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