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The secret about Diego del Morao’s strumming sound
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Ricardo
Posts: 14828
Joined: Dec. 14 2004
From: Washington DC
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 RE: The secret about Diego del Morao... (in reply to hxwhf72752003)
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quote:
ORIGINAL: hxwhf72752003
Hi everyone. I like Diego del Morao so much and I want to learn some skills of him. One of my friends told me that the Morao family has some secrets about strumming strings. I think it may be true. My friend Duan who is learning at AER(A guitar school in Seville where Nino de Pura teaches, and where the principal invites famous guitarists such as Diego del Morao and Juan Campllo to teach) told me that they had a lesson about Morao‘s strumming strings. I think Diego's strumming is more magical and impressive.
Does anyone know something about it？
Here is a video from Fernando del Morao‘s（Diego’s nephew）Instagram.
【【弗拉门戈吉他】Diego del Morao在家中演奏原创Alegrias】 https://www.bilibili.com/video/BV1AH4y11757/?share_source=copy_web&vd_source=543497b797fdd19d04afa0542da46580
A large percentage of his techniques are from his uncle Moraito, who demonstrated most of the main material in the Encuentro video. The true “secret” he gave was the medio compas for the cante remate (after the cambio or penultimate line of verse, a half compas conclusion is expressed). If you listen to Luis El Zambo “Gloria Bendita” album, the two bulerias with uncle and nephew together, every letra but one is a lesson in this technique. The other thing is the triplet starting on the off-beat, using i and a fingers only. Again in buleria, after an up stroke on the chord at count 6-&, two pick up triplets are played so that starting down a-i, lead into I UP stroke on the beat 8, and triplets continue to 10. That is tricky to get. The rhythm comes from Paco’s Almoraima bulerias (at least the first time I hear it done that way in history), however, Paco does it differently (abanico), so it is somewhat a unique thing. Tomatito and Gerardo Nuñez also do this (both abanico and i-a).
The other thing is the basic Amii stroke, such as fellow Jerezano Cepero uses to devastating effect is similar to the previous, where I UP stroke is expressing the beat, and the down strokes fill in between. Because Moraito starting doing a much slower buleria than Cepero and the Jerezano predecessors (I pointed out recently Moraito is using slow phrases of Paco note for note), what again Uncle and son are doing is dragging the timing of the ami downstrokes so they swing into the back beat more, and emphasize the i up strokes on the beat, rather than 4 even strokes. Hope that makes sense.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 23 2024 13:52:49
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hxwhf72752003
Posts: 38
Joined: Mar. 19 2024
From: Hunan, China
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RE: The secret about Diego del Morao... (in reply to Ricardo)
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quote:
ORIGINAL: Ricardo
The true “secret” he gave was the medio compas for the cante remate (after the cambio or penultimate line of verse, a half compas conclusion is expressed).
Oh, I noticed that at a Tangos performance of Diego del Morao & Jesus Mendez. It really confused me at the time. Thank you Ricardo, I will try the half compas.
About the "amii" and "aiiaii", in fact I noticed this early on and have now mastered this technique.
In fact, I want to talk about Diego's strumming tone, which I think is unique and beautiful, but I don't know why.
Anyway, thank you very much for your reply, it helped me a lot 
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REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 23 2024 14:41:30
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