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.
That opening falseta was a head scratcher…. Didn’t think he was ever gonna get to E
I always only knew this version of Rosas with the E minor chord, but now I’m listening closer those tonos seem imposed on a melody that can stay in major.
I learned Rosas copping it off a Niñ0 Ricardo LP, since there weren't any cantaores/as in Austin in the late 1950s-early 1960s.
It was a joint effort with Eddie Freeman students George Gamez and Jerry Lobdill. I have a yellowed manuscript beside the keyboard, in Jerry's highly legible handwriting. In my own hand at the top it says "Rosas (Ricardo) from Epic recording Musica Flamenca." I'm pretty sure I still have the LP. Though my LPs are now unpacked they aren't organized yet, so i haven't shuffled through them to find it.
I've looked for the piece on the internet before, but only found it this time, titled "Mellizo."
It's in E-major, with excursions into other tonalities at about 1:17 and 1:44.
I've looked for the piece on the internet before, but only found it this time, titled "Mellizo."
The photo on the album cover shows Nino Ricardo playing left-handed. Was it possible the negative was reversed? All the photos I have seen of him show him playing right-handed. Was he ambidextrous playing the guitar?
Bill
_____________________________
And the end of the fight is a tombstone white, With the name of the late deceased, And the epitaph drear, "A fool lies here, Who tried to hustle the East."
The great maestro Juan Martín (aka John Martin) says that Alegrías en Mi are also known as Rosas. He says " the passage in E menor was being played in el Corral de la Morería about 1963 and quickly became popular with other guitaristas."
This is how flamenco becomes deformed: La Rosa originally was a cante, now mostly forgotten. Many of the variations of tono are inventions of guitarrists.
I've looked for the piece on the internet before, but only found it this time, titled "Mellizo."
The photo on the album cover shows Nino Ricardo playing left-handed. Was it possible the negative was reversed? All the photos I have seen of him show him playing right-handed. Was he ambidextrous playing the guitar?
Bill
I didn't even notice. Of course, Niño Ricardo played right handed. A new low in flamenco guitar re-issues.
This is how flamenco becomes deformed: La Rosa originally was a cante, now mostly forgotten. Many of the variations of tono are inventions of guitarrists.
Don Ramon was deforming quite a bit back in the 78 rpm days.
Like Ricardo I was used to the version that modulates to E-minor occasionally. Mariana Cornejo is the first I have noticed who stays in E-major all the way through--but I can't swear that nobody was doing that during my first trip to Spain 63 years ago.
Didn't take much searching though, to find La Niña de los Peines staying in E-major all the way through:
This is how flamenco becomes deformed: La Rosa originally was a cante, now mostly forgotten. Many of the variations of tono are inventions of guitarrists.
I have looked at very early wax cylinder recordings of cantes I was studying to see how things evolved, and yes it is often the guitar that adds things. Do you know who might have been the first to record la Rosa?
Well first of all it is a different melody altogether. But what is interesting is that the first phrase is major, but the concluding phrase “terciopelo” for example that repeats has the flat third implying minor key change after all (the guitar is ignoring the alteration each time). She is doing each verse the same way. Because it is fast buleria the change flies by.
Could be posible that is just a variant of the guitarras: it is said that is from Sanlúcar, but it could be an invention de a cantaor who like the harmony of the guitar
Could be posible that is just a variant of the guitarras: it is said that is from Sanlúcar, but it could be an invention de a cantaor who like the harmony of the guitar
Nice blog. Is there further reading regarding Pericon’s anecdote regarding the flamenco partituras of 1512? I know they sort of make fun of that, claiming Cadiz took the best songs and sent the rest to jerez and Sevilla 😂😂😂! But I’m sure flamencologists have looked into what the origin of that music might have been exactly.
Nevermind I found the source. 1975 book Las mil y una historia de pericón
Printable Version
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