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Posts: 15725
Joined: Dec. 14 2004
From: Washington DC
RE: 2 finger arpegio I and M (in reply to devilhand)
quote:
ORIGINAL: devilhand
Talking about P and I, what I understood from G. Nunez encuentro dvd is PI technique is an antiguo technique. Anyone agree on that?
He says "alzapúa antiguo", meaning before the type of phrases (bass line melodies) were expressed with the thumb moving up and down, the same melody types were done using p-p-i such that the second p and i are replaced by the down up strum of a held chord. The triplet type rhythm produced is the same expression. "Antiguo" means, in this case "old school" not like "antique furniture", it is just an expression. Nuñez and other Jerez players keep this older style alive as part of tradition preservation. If you watched that documentary with Moraito and his Uncle Manuel Morao, the older Morao claims to be the "patriarch" of his clan and the youngsters working on the siguiriyas alzapúa are preserving a specific variant that he himself developed, and he calls this his own "school" of toque. It goes back to Javier Molina (Morao's teacher), Nuñez learned from Molina's student Rafael Aguila (who also taught this to Parrilla and Cepero), and Norman Kliman has done a case study of its evolution from Molina and Montoya through Paco de Lucia.
for what it is worth, one of my favorite siguiriyas of Morao I transcribed, and realized he fits the subdivisions very loosely in the compás (aka, it does not add up mathematically so there is to be a push-pull tempo or elastic tempo with these). I have taken the liberty of rectifying the math and presenting my own version in the Mel Bay method "Formative Works". As Morao admits in that same documentary "the payos have been stealing from our tradition", so yeah, that would be people like me.
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