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What sounds "modern"?
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Ricardo
Posts: 14806
Joined: Dec. 14 2004
From: Washington DC
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 RE: What sounds "modern"? (in reply to aaron peacock)
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I agree with others above, rhythm is number 1. Basic traditional stuff played in funky ways. Most modern trend is looped palmas tracks.
One thing I only recently noticed is the concept of not ending a flamenco phrygian song (cante or guitar solo) on a STABLE TRIAD. By that I mean at the conclusion of the piece or falseta. It seems in the old world that was an important thing to do even with Taranta or Taranto. So for example montoya would not let that dissonant chord hang on open strings above the F# he would always do a Barre chord triad (no 7ths either, this is important).
So I first notice Nino Ricardo era ending Taranta like that. Later on Paco de lucia added in the Rondena chord where you have E#C#D in the basses, an extremely dissonant chord...but he still ended a little safe with C#DG#C#... so not quite a stable triad.
By the time of Almoraima you have conclusions to pieces hanging on dissonant chords all over the place such as A(b9)/G, etc...and finally Vicente amigo ending his solea (one palo that manages to avoid the trend for a long time) on a high position G# diminished7 over an E bass note.
Next are the key changes. At first they only manage parrallel changes, later more sophisticated ones. For example Trafalgar by Nunez seems like a super modern piece until you realize he is only going from D minor to D major to D phrygian not unlike many old bulerias. Paco de lucia maybe first to venture into OTHER keys altogether in the middle of a song form...check the comparison here:
https://youtu.be/vDziuC4qOV4
And along the lines of changing keys, usually via some form of cadence, either the normal V-I cadences in major or minor, and also the II-I of phrygian (this one used in the paco example above often and in the solea of “dissertation blues” thread), we see interesting scales come into play. Although it is touched on in traditional Taranta, the lydian dominant is used to great effect in flamenco, and other versions of the melodic minor, that had not really been explored much in the old school.
Last, the one that jumps to me is minor third modulation...where A phrygian lines are repeated in C phrygian and vice versa as a phrasing device to build and release tension. And along with this comes this interesting non standard chord voicing that is a dead give away of modern Flamenco at work:
In por medio:
3
3
5
3
4
3
Sometimes looked at as Dbmaj7 in context (the D natural being an incidental out note), the complete chord is part of the phrygian scale picture in A so it functions to pull back to A eventually in various ways. Paco has used this voicing chromatically at times.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 2 2020 14:50:39
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Ricardo
Posts: 14806
Joined: Dec. 14 2004
From: Washington DC
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RE: What sounds "modern"? (in reply to Brendan)
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quote:
Is this impression accurate or have I been misled?
It is not a good idea to generalize about rasgueado because it is very personal technique and once you find a “rule” or pattern, you notice the person change it. I think Abanico Triplet goes way back but the more common rasgueado for the remate was probably like the one I see Cepero and Diego del Gastor use in rito y geografia ... i is up on the beat and you use ami down. The pinky can also be used so it’s either or 4 or 5 strokes per beat, very fast, but with the up stroke keeping the beat.
As far as transcriptions go, they are often wrong unless a known video source was used, but sometimes the sound can tell you basics such as if fingers or wrist is being used, pulgar vs picado etc. Once I see a technique used in a video source I can usually associate the sound with what I hear on a recording, but even still, a slowed down listen might reveal a contradiction.
About modern vs old trends, one new trend regarding p-a-i or i-a-i type triplets is that on Almoraima and ever after, 1976 or so, those triplets were approached from the off beat contra, so for example 6& with index catching the open E string, a pause then “a” finger starts on the off beat “& ah 8 & ah 9 & ah 10”... for example.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 31 2020 14:24:24
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lol sorry.
