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.
Awesome! does anyone know why Borrico starts singing before the Juan finishes the variations/remates?
He doesn’t. The first letra ends and he allows the falseta to close with the remate E arp, then the marked descending chords 1,2,3, are the signal to start singing if he wants or not. After the two lines of verse, Juan wrongly anticipates a respiro that didn’t happen to be in Borricos head, he simply connects the the 3rd line of verse in the next compas as normal. The respiro that often happens is NOT a requirement of cante, and must be done with caution. AS you can see Juan has to continue the variation that he started, UNDER the third sung line, forcing Juan to deliver the cambio chords (G7-C) super late (on the 1,2,3 of the 4th cycle).
Nothing in what I wrote above is to be considered a “mistake” of any kind in context here. Only in dance world of set choreography and set letras would the above be considered “incorrect” and a forced repeat of the entire letra in order for the musicians to get on task. This sort of thing has forced an evolution to occur where these moments are suddenly jarring to folks used to square box cante and respiros, perfect count 10 remates, etc. This forced evolution via dance accompaniments (the working environment honestly), has robbed the cante/guitar of such freedoms of expression as shown here (ironically the second letra is totally cuadrao despite the missing respiro).
By comment is that it sounds like the basic Dm/F descending pull off standard resolving first to E, then to C. Then slower pull offs. It is maybe the most standard solea thing I have ever heard in my life outside of a basic E arpegio, as it defines the phrygian scale/cadence concept (that being a descending F lydian resolving to E major, having nothing to do with synthetic scale nonsense and a big etc). The fact he executes it with pulgar instead of ima arp is totally arbitrary and beside the musical point.
Amazing analasis, thanks Ricardo. Great to see these beautiful old videos and learn from them. Its defintely a way of playing together that seems to have been lost.
Amazing analasis, thanks Ricardo. Great to see these beautiful old videos and learn from them. Its defintely a way of playing together that seems to have been lost.
It’d be unlost if 2/3rds of the dumb bastards that try to get a fast picado would spend the time learning to sing instead.
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