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classical pieces - and (relatively) easy classical pieces - with or without a flamenco flavor
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joevidetto@gmail.com
Posts: 2
Joined: Nov. 23 2023
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 classical pieces - and (relatively) ...
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Hi all,
I've been away from the Foro for a while - but I'm back !!! - partially because I recently retired and will finally have, hopefully, a lot more time to play.
I realize this is a flamenco forum - but I'm guessing that quite a few of you have played, or continue to play, some classical pieces, if nothing more for the reason that both forms use nylon strings.
I have a vision of playing out with a mix of music, including some pieces from both forms.
If you have dappled with classical music, please share the names of pieces you have learned - and even videos if you have them : )
Also - could you recommend any classical pieces you have learned that are relatively easier - e.g. more 'bang for the buck' in terms of pleasing an audience but not taking a lifetime to learn ?
I'll share a few I am working on from both categories - I have a transcribed version of the Allemande from Bach's 3rd cello suite, and the piece really knocks me out - started working on in my late teens. At times I have been able to play it with the music in front of me - but it quickly disappears without practice. That is a beautiful sounding piece and I'm sure a crowd- pleaser (for the interested crowd that it) - but clearly a low reward for the amount of effort to learn it. Another - Romanza, is pretty easy and also sounds good - relatively low practicing effort for a few minutes of decent sounding reportoire. Leyenda - which is probably like "Stairway to Heaven" in terms of being played out for people familiar with it - is somewhere in between maybe ?
As always - TIA
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 23 2023 17:41:34
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Ricardo
Posts: 14833
Joined: Dec. 14 2004
From: Washington DC
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RE: classical pieces - and (relative... (in reply to Ricardo)
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That thing above is showing a very literal correspondence between how we think of Rondeña, or conceive of the song form on the guitar neck, relative to tuning, scale, and final cadence (C#major), the only difference is the 6th string (or course of double strings) is kept at E, and Montoya dropped it to D. It is such an unlikely coincidence that I have to suspect only two possibilities, 1. Montoya was exposed to this tuning around 1920 by Pujol or his students that had recently discovered the tabs thanks to Pedrell, and VERY quickly adopted the key and formal structure of unique chord voicings to accompanying cante (recorded 1928). Or, 2. This type of tuning and key had survived in Spain amongst gypsies, illiterate, who would retune guitars this way and preserve this key and concept, since the renaissance. Oddly, I find this more likely than the former, as a player and friend of gitanos…however historians would probably disagree and assume 1. Has to be the reason.
As to drop D being an issue, Fuenllana uses both the interesting key of C#Phrygian (mode 4 as it would have been) as Narvaez, in several pieces, and also the Drop D appears in 5 pieces (though in D major).
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_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 24 2023 14:51:48
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Ricardo
Posts: 14833
Joined: Dec. 14 2004
From: Washington DC
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RE: classical pieces - and (relative... (in reply to Richard Jernigan)
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quote:
ORIGINAL: Richard Jernigan
Re your idea that rondeña tuning--perhaps without the dropped D--survived from the Renaissance among gitanos:
I don't know where to start looking for this anecdote, but I remember reading it in the last year or so. Montoya, having tuned his guitar a la rondeña, handed it to another well known flamenco guitarist, who was, according to Montoya "unable to play a single note."
So according to Montoya there was at least one other professional flamenco who was unfamiliar with the tuning, and Montoya was pretty confident that he would be.
6
RNJ
The reason being the third string being F# instead of G….that renders the internal design of the instrument as if everything has moved UP a set of strings from normal, or a new treble string was added below the first string, a 4th higher. That means the conceptual key of “Taranta” simply moves UP a physical set of strings, and one can play as normal. That is the relationship between the two toques anyway, basically. The drop D 6th is something most guitar players should have already been familiar with (producing a 5th between strings 6 and 5). This would all beg the question, why would this not facilitate the KEY center of D instead? The idea of tuning this way THEN conceiving yourself in the key of C# is quite random or too specific a function if this was a random discovery by montoya. I am sure there are even today, SOME flamenco players out there that can play traditional flamenco just fine, perhaps for cante or baile even, who NEVER messed with Rondeña, drop D, nor any other altered tunings flamencos have used since. So that type of anecdote needs more qualifiers….who was it, where were they from, family lineage, etc., in order to disqualify the possibility that Montoya was NOT the first and only to use it in 1928.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 24 2023 18:45:55
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