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.
|
|
|
Cositas buenas book
|
You are logged in as Guest
|
|
Users viewing this topic: none
|
|
Login  | |
|
  
Filip
Posts: 403
Joined: Apr. 23 2006
From: Paris
|
 RE: Cositas buenas book (in reply to Filip)
|
|
|
You're welcome. I will probably get it as well, I only have three books from the collection but definitely would like to try out a few falsetas from the album.
I remember when the album came out. At the time I was relatively new to Paco and had discovered him only about a year before through Friday Night first, and then the two LPs that my father had at home, Almoraima and the Falla one. My brother got me Antologia cd from his trip to Spain in the summer of 2003, and then in the fall I was on a school trip to Budapest and I managed to find Zyriab and Live one Summer Nigh. So I did not have much and I was not able to appreciate Paco's music and evolution completely.
In the summer of 2004 I went on a school trip to Bulgaria, and there I got Cositas Buenas from the street sellers. I remember that at first it was strange, almost everything except the tangos was somehow strange. But then I started liking it and I still do, though I don't listen to it that often.
In 2005 I was i Budapest at Paco's concert, my first one. I brought Cositas Buenas cover, and after the concert I run into Juan Estrada, a very kind man and a friend of Paco, who took it and gave it to Paco for an autograph backstage. Paco wrote "Viva Japon" on it :)))
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 2 2020 18:35:29
 |
|
Richard Jernigan
Posts: 3430
Joined: Jan. 20 2004
From: Austin, Texas USA
|
|
RE: Cositas buenas book (in reply to Ricardo)
|
|
|
Ah, but think of the old days. In the early '60s there was a shop in Greenwich Village, New York City which catered mainly to the "folk" crowd. What took me there was the fact they sold nylon strings.
One day I came across a transcription of Sabicas's soleá "Bronce Gitano." I took it back the the Army post where I was stationed and got out my Paracho guitar. I listened to Sabicas and Escudero at the time, but I was pretty much completely ignorant of flamenco.
The transcription was utterly impossible to play for a novice like me, barre chords all over the place, with rapid changes.
A couple of weekends later I was at the club Zambra in New York City. I was a regular enough customer to get invited to the after hours juerga. Sabicas showed up. He never played exactly the same thing twice, but I managed to recognize a few falsetas of soleá. He was playing pa' arriba, with the cejilla on 2. The transcriber, absolutely ignorant of the guitar, but with a fairly good ear, had transcribed "Bronce Gitano" in F# Phrygian.
RNJ
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 9 2020 1:09:21
|
|
Mark2
Posts: 1871
Joined: Jul. 12 2004
From: San Francisco
|
|
RE: Cositas buenas book (in reply to Richard Jernigan)
|
|
|
This was pretty common. I have some early PdL stuff that is transcribed as if there was no capo. I'd guess a keyboard player did it.
quote:
ORIGINAL: Richard Jernigan
Ah, but think of the old days. In the early '60s there was a shop in Greenwich Village, New York City which catered mainly to the "folk" crowd. What took me there was the fact they sold nylon strings.
One day I came across a transcription of Sabicas's soleá "Bronce Gitano." I took it back the the Army post where I was stationed and got out my Paracho guitar. I listened to Sabicas and Escudero at the time, but I was pretty much completely ignorant of flamenco.
The transcription was utterly impossible to play for a novice like me, barre chords all over the place, with rapid changes.
A couple of weekends later I was at the club Zambra in New York City. I was a regular enough customer to get invited to the after hours juerga. Sabicas showed up. He never played exactly the same thing twice, but I managed to recognize a few falsetas of soleá. He was playing pa' arriba, with the cejilla on 2. The transcriber, absolutely ignorant of the guitar, but with a fairly good ear, had transcribed "Bronce Gitano" in F# Phrygian.
RNJ
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 9 2020 18:23:07
|
|
Ricardo
Posts: 14806
Joined: Dec. 14 2004
From: Washington DC
|
|
RE: Cositas buenas book (in reply to Paul Magnussen)
|
|
|
quote:
In my opinion it was tantamount to fraud.
We discussed this before, so I thought. When an artist records his/her music, he or she is basically giving rights to a publisher whose responsibility is then to control (p) which are records tapes CD DVD etc, and also (c) which is the printed score. Publishers collect royalties from sales and pay the Artist from those and mechanicals (When others re record or re arrange those pieces they own) and performances (ascap or BMI collections from venues where the pieces are performed).
Publishers have people on their payroll that do certain jobs regarding the above, and one of these is to write on paper whatever was heard on all (p) materials in order to generate (c) in some sellable form. They could give fuk all about proper fingerings, it is about getting something into a store to generate (c) royalties in addition to (p), and also preventing anybody else from doing it first. If there is no (c), then an outside party can pay mechanical royalties and generate their own used by permission (c) and potentially do a more lucrative enterprise with a popular tune, so time is of the essence to control (c).
This is across the board all artists for all times. Only in super rare occurrences will you find a case where an artist:
1. Owns his own publishing
2. Writes and submits his own scores to his publisher
Probably a publisher would not allow 2. Because then what are they paying that guy on their payroll for?
When you see an excellent transcription of ANY guitar piece, 99 out of 100 cases, whoever did that work had to PAY out to a publisher a good portion of revenue for the rights to create it. Those guitar mags that used to have decent scores, all clearly name the guy on payroll that did the work, and the publisher they had to pay down at bottom for permission. I recall ONE out of thousand cases, where Jason Becker submitted his own score to the magazine, which was an unprecedented situation.
So those bad scores you find of flamenco are done quite deliberately and helped feed someone out there. Just be thankful for the under the table ILLEGAL transcriptions that are accurate that you occasionally get your hands on, they are gold.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 10 2020 16:36:06
|
|
Ricardo
Posts: 14806
Joined: Dec. 14 2004
From: Washington DC
|
|
RE: Cositas buenas book (in reply to machopicasso)
|
|
|
quote:
ORIGINAL: machopicasso
quote:
When you see an excellent transcription of ANY guitar piece, 99 out of 100 cases, whoever did that work had to PAY out to a publisher a good portion of revenue for the rights to create it.
But to what extent is that true for flamenco transcriptions? More importantly, to what extent is that true of the good flamenco transcriptions?
Also, is the printed score clause (i.e. your '(c)') included in the contract for every recording flamenco guitarist? If so, why don't we see any official transcriptions of Antonio Rey's music?
The publisher will look at sales of (p) and decide if it was worth it to pay thousands to print some book version of (c) that they own and keep on file. I hoped to get lucky with polygram Iberia that I could pay them mechanicals and publish my own book of Tauromagia back in the 90s, as I noted the disc only printed (p), no (c). Via a mutual friend, Manolo offered us the green light to do the work. Later, before I was done with the project, Manolo’s manager informed him that Polygram did infact already have a BS score or sketch of the album on file, in other words they had (c) already, but flatly refused to give Americans permission to use the work at all, and admitted it wasn’t worth it to publish anything themselves! Manolo was pissed to discover he didn’t own the work himself!
Since then we do see some European transcribers such as Encuentro, worms, Leiva, etc, have had an easier time securing rights from Spanish publishers to print books. But I restate, MOST of the “good” transcriptions are done illegally and sold under the table.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 11 2020 17:44:24
|
|
 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 |
0.09375 secs.
|
Printable Version
He is a long way off being any kind of gold standard! I don't know the later stuff so well, but I learnt some of "Duende Flamenco", and comparing what I get from the audio with Faucher and Leiva I can say that Faucher is much better, although IMO not 100%. A lot of that stuff Faucher was doing pre-digital from vinyl or tape, and without Youtube for video reference. If I can slow down an arpeggiated chord so I can clearly hear the separate notes, why can't Leiva? And if I can check available video on Youtube for correct fingerings, why can't Leiva? Comes across as kind of sloppy given the available resources. 
