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Estimated experts, Everyone knows the classic soleá grabation "A quien le contaré..." by Juan Talega, which various ppl, including Ricardo and myself, have transcribed for various purposes. (Something about it just seems to invite being transcribed and cited.) I'm listening closely to it, and there is some rhythmic thumping, which is either Malena doing golpes/taps on the guitar face, or maybe someone rapping their knuckles on a table, or something else. Can some expert guitarist advise me what it is?
RE: thumping on Talega soleá (in reply to Steelhead)
So let's say on this remastered recording (so everyone uses the same source): do you mean the obvious stuff throughout, or something underneath or more subtle?
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RE: thumping on Talega soleá (in reply to kitarist)
quote:
ORIGINAL: kitarist
So let's say on this remastered recording (so everyone uses the same source): do you mean the obvious stuff throughout, or something underneath or more subtle?
Video not available
The performance is live and amplified. The recording is taken not off the board but from an ambient recording device. The golpes are heavy due to live sound not being compressed with minimal eq. The puff of air is of the resonating guitar body bass frequency from the soundhole getting amplified and the live sound speaker is driving it nicely in the low end.
In studio those golpes are compressed and don’t punch so hard, and also the mic placement can be further away as “mic bleed” is not an issue in good studios as it is live.
I shared a transcription made by Carol Whitney of this performance in Guitar Review 1970’s, not one I have done.
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Joined: Dec. 14 2004
From: Washington DC
RE: thumping on Talega soleá (in reply to devilhand)
Good point...I had assumed it was the live version...he delivers the timing the same, and the article said it was “live”...however the score adheres closer to this version:
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RE: thumping on Talega soleá (in reply to Steelhead)
quote:
which various ppl, including Ricardo and myself, have transcribed for various purposes. (Something about it just seems to invite being transcribed and cited.)
Ok, I finally read your article...seems you named the Carol Whitney article as a reference ... scratching my head here. I am surprised you didn’t take a cue from her superior score and check your own against it? I can understand notating it in 12/4 and absolute pitch of course.
Also I realize your original question refers to the studio version where the golpes are sometimes doubled by palmas sordas. You can hear palmas Clara’s at the end.
Posts: 15725
Joined: Dec. 14 2004
From: Washington DC
RE: thumping on Talega soleá (in reply to kitarist)
Cool, same subject but a different performance altogether. It is still an odd coincidence he published an article of the same exact performance she did in guitar review.
RE: thumping on Talega soleá (in reply to Ricardo)
Ah yes, there it is. (I wrote my article several years ago. I do always cite my sources.) What I think is interesting is that there is something about that Talega recording, amongst so many thousands of other recordings, that lends itself to being analyzed, transcribed etc. It's sort of perfect, classic, and even in the way that it gives a good example of the compás adjustments that have been discussed at length in this forum. And another reason, more basic, why I chose it to analyze in my article -- the book the article is in has a CD, with that Talega recording. The rights to that old LP don't seem to be owned by anyone; it's been reissued by different labels several times, and I looked into it, so we could include it in the book CD without having to pay for permissions. So I wanted to choose an item from that LP, and that was the best.
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