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Is he doing a one string alzapua? Nothing is making sense for these 12 seconds, plz help out
Some context: I already know alzapua. I've tried playing it @ 0.25x but it just feels a bit different , even the rhythm feels different than what a normal alzapua would be
edit: i figured it out guys! thanks much everyone for all the help!
RE: Break down needed of an alzapua ... (in reply to metalhead)
Slow the video to 0.25 and it becomes clearer. He is using pulgar down / up strokes for some of it. Ricardo will probably know all about how this is done well and safely.
RE: Break down needed of an alzapua ... (in reply to metalhead)
Oh ok, sorry, I thought I was being helpful. If you've already done all that then there are videos on YT that explain the technique. Gerardo Nunez, Francisco Antonio, etc. I took it from your OP that 'nothing made any sense'. I thought I was adding a little sense. Never mind. Far more experienced members on here may help.
RE: Break down needed of an alzapua ... (in reply to metalhead)
quote:
even the rhythm feels different
Think 16th notes. 1-2-3-4-. on 3 thumb down strum, pause on 4, on 1 p bass note (rest stroke), p down strum on 2, p up strum on 3. On 4 p plays bass note (rest stroke), and on 1 bass note is played with a hammer-on/pull-off, p down strum on 2, p up strum on 3, p bass stroke on 4, hammer-on/pull-off on 1, repeat. You end up with a cycle where the bass note played with your thumb is always on 4 and 1 is played with hammer-on/pull-off. Once you develop a feel for that pattern (practice the right-hand pattern without bothering with the left hand: p rest stroke on 4, pause, down strum on 2, up strum on 3), in 4s rather than 3s, the rest will make a lot more sense.
Since you asked for Ricardo, here you go:
Not the exact same line (Ben's is more of a tangos remate. Well that's what I associate it with anyway), but the basic 16th-note pattern is the same. You just interrupt the cycle earlier (at the end of each descending segment) and start back up with a thumb down strum on 3.
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RE: Break down needed of an alzapua ... (in reply to metalhead)
Siguiriyas falsetas use a similar alzapayo technique. Take a siguiryas lesson and listen to someone with a long siguiriyas solo on one of their albums- such as Paco del Gastor or Pepe Habichuela ( Amanecer)
RE: Break down needed of an alzapua ... (in reply to metalhead)
Beginning of Amanecer has got things.
This and Paco is mainly where he got those chops. He learned Amanecer note for note and played it as his solo before he had his own arrangements of metal songs and other flamenco stuff. I never thought he had a good solea, but his Buleria, Tangiullos and siguiriya were good. Of course he had all the other cuadro palos like tangos, Alegrias etc.
RE: Break down needed of an alzapua ... (in reply to metalhead)
Like it’s from a 1950’s funky flamenco record. He used to do this going back and forth between traditional tanguillos and a metal song pushed into this compas. Very amusing.
RE: Break down needed of an alzapua ... (in reply to silddx)
hey, so i finally figured everything out! The funny thing is i actually did so by again slowing the video down to 0.25x but this time with more dedication. It was definitely funky, but i got it in the end!
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RE: Break down needed of an alzapua ... (in reply to metalhead)
I guess the odd thing about this one was the chord held was not F but just the open G chord created by the open strings. So he could move the bass melody on the 5th string etc, freely. More often the same phrase we hold the notes of an F chord. Vicente was one of the first to change this typical thing to a G7, only holding an F on the D string and letting G and B open (Fandangos called Mensaje).
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