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You need to know theory in order to get the results that your understanding of theory will give you.

You don't need to know theory to get the results from not knowing theory.

By not knowing theory, you'll certainly fail miserably at attempting to produce musical parts based on the exploration of theory.

If you really understand theory, there's no reason for it to be an obstacle to your guitar/flamenco playing.

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Given the true question on this thread, I feel that in order to clarify the matter at hand we should see beyond any particular genre.

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I don't think we need more concepts, what we need is to be a bit more pragmatic and stop trying to analyse one genre based on the premises of another genre.

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All theories are right for me and I believe people hear things differently so.. there are many variables.

The only need for unified theory would be at institutions or to communicate with other musicians... and again, if you know how theory works you'll understand other points of view pretty quick.

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The only need for unified theory would be at institutions or to communicate with other musicians...

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No more bitching about your right hands or scale length or arpeggios.....



Or just grow bigger balls like this guy.

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Theorize this:

No more bitching about your right hands or scale length or arpeggios.....

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PG, in my opinion, you just went full retard.

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If your ignorance feels threatened, go learn something. Leaving poops all over a topic that has no value to you won't do nothing for your inferiority complex.

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Dude, all the crap you've been writing happens to be the result of you not understanding things.

From now on I'll ignore all this paralell crap, don't feel offended if I ignore your contributions to theory threads in general.

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And finally the Almonaster version....

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I believe GB, Sr Martins, Pgh, Ricardo, and many others have some cool insights but they are not coming out in practical examples.

Some philosophical traditions "yoke" their theories to practice. In India during the time of the Buddhist Nagarjuna, the stakes were high. You had to prove that your philosophies were practical. If you won a debate, the losers - teacher and students - were expected to convert.

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It is actually Fandangos de Santa Eulalia that go to A

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ORIGINAL: Morante

..... in A, but in Cádiz all are accompanied in E, to which I am acustomed.

However José started in A. All went well for 20 minutes until he sang por Santa Eulalia. Since we were all rather less than sober, my befuddled mind could not think of the next chord. So I stopped playing. José stopped singing. I looked at him and said "José, I think it´s time to go home" He, even drunker than me, agreed.

Así se aprende

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Or maybe I am still not getting the point.

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I think you are In the real world of flamenco, instant transposition and tone recognition, even when catatonic, are essential!

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At any rate. My goal has always been to help beginners interested primarily in playing, but also in a general understanding of how things are put together in flamenco. So I will be on another thread doing that. I don't have anything against people like Todd, Stephen, or Bill, but over the years I have felt attacked, offended and insulted. I'm tired of that negativity so they are invited to stay away from any other threads I post, or at the very least, contribute some real musical examples.