Un poco de flamenco

Costs are rising and times are tough.
Please consider a donation to keep this
place going.

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.

Un poco de flamenco

You are logged in as Guest

Users viewing this topic: none

Printable Version

All Forums >>Discussions >>General >>

Page: [1]

Message

<< Newer Topic Older Topic >>

Morante

Posts: 2179
Joined: Nov. 21 2010

Un poco de flamenco

REPORT THIS POST AS INAPPROPRIATE | Date Feb. 3 2021 15:59:17

Ricardo

Posts: 14801
Joined: Dec. 14 2004
From: Washington DC

RE: Un poco de flamenco (in reply to Morante)

Ole!

_____________________________

CD's and transcriptions available here:
www.ricardomarlow.com

REPORT THIS POST AS INAPPROPRIATE | Date Feb. 3 2021 18:27:00

Fluknu

Posts: 151
Joined: Jan. 11 2021

RE: Un poco de flamenco (in reply to Morante)

Woaw. I haven't started to learn Siguiryas... this makes me want to jump in it. But I've got to wait.

I have a question or something I noticed. In this song, it seems to me that Camaron is following the pace of the the guitarist (I think it's Tomatito). He leaves him space, and comes in only when the guitarist gives him the call.
1. I might be wrong
2. but if I saw it kind of right:
3. is that a particularity of Seguiryias?
4. or is it a biological thing that emerged at this moment.

I'm asking because I always thought that the Guitar is in service of the voice.

REPORT THIS POST AS INAPPROPRIATE | Date Feb. 3 2021 19:11:44

Ricardo

Posts: 14801
Joined: Dec. 14 2004
From: Washington DC

RE: Un poco de flamenco (in reply to Fluknu)

quote:

1. I might be wrong

Correct. For example at 5:19 Tomatito delivers the llamada rasgueado...but camaron had not yet finished the line. What goes on is this....the singer has the melody in mind and delivers it as intended, loosely timing wise over the droning chord sequence...taking more or less time between the phrases as he feels. In all honesty, since Tomatito is not delivering the cambios (C-F) at all, he only needs to do something in the respiros or llamadas as he sees fit. Camaron only needs to listen to when to come in after the guitar does something. But once he is in it he has to complete the lines etc...and as you see at 5:20 he wasn’t yet finished.

It is best to first study and get a good handle on song forms that adhere to strict tempos (solea, buleria por solea, bulerias etc)...next encounter cante libre such as malaguenas, cante de La mina, etc, so you learn how to keep the form together via melody only, and last learn how to accompany a free melody over elastic compas (siguiriyas, special types of fandangos, taranto for baile etc). Modern solea has enjoyed an elasticity in recent years it did not have before, and it is akin to how siguiriyas is done.

_____________________________

CD's and transcriptions available here:
www.ricardomarlow.com

REPORT THIS POST AS INAPPROPRIATE | Date Feb. 3 2021 21:41:34

Fluknu

Posts: 151
Joined: Jan. 11 2021

RE: Un poco de flamenco (in reply to Morante)

Thanks Ricardo, that helps. Yes, I'm focusing on the fixed compas for the moment.

The thing is that there are not one singer around where I live. No way to practice that aspect. It's really discouraging. I practice following singers on youtube, with live videos. That's the best I can do for the moment.

REPORT THIS POST AS INAPPROPRIATE | Date Feb. 4 2021 11:40:00