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, Tom Blackshear and Sean O'Brien 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.
Unless I learn how to do that myself and accompany myself. Dancing and playing same time would definitely propel me above the professor level!
Just posting this lightheartedly. I do understand that most here are only interested in guitar, and don't have intention or motivation to accompany flamenco or be a tocaor. And that is completely fine.
Unless I learn how to do that myself and accompany myself. Dancing and playing same time would definitely propel me above the professor level!
Just posting this lightheartedly. I do understand that most here are only interested in guitar, and don't have intention or motivation to accompany flamenco or be a tocaor. And that is completely fine.
Damn. She got some powerful rasgueados.
At least the dude at start didn't say "flamingo", but "flaminco". He got the C right
Hate to hijack the thread, speaking about La Barrosa and god level, in my amateur view I always thought that La Cañada is equally or even more challenging so wondering how you guys feel about it since it's almost never mentioned. Every time I listen to it it drives me crazy.
Hate to hijack the thread, speaking about La Barrosa and god level, in my amateur view I always thought that La Cañada is equally or even more challenging so wondering how you guys feel about it since it's almost never mentioned. Every time I listen to it it drives me crazy.
It is a weird tuning situation, so not a practical piece to work on. Piñonate and Tesorillo use a similar tuning. There was a video of him playing it, with the tuning in place I don't consider it especially hard. It has the sound of Granaina with the open trebles relative to the fretted chord. I have my tangos in drop B Granaina so a similar "aire", and I have adapted a version without that drop B for practical reasons in use with dancers.
Anyway I would study it in the context of the other two pieces as well to get a better view of the formal structure he is using. Here is a video still up on YouTube:
Hate to hijack the thread, speaking about La Barrosa and god level, in my amateur view I always thought that La Cañada is equally or even more challenging so wondering how you guys feel about it since it's almost never mentioned. Every time I listen to it it drives me crazy.
I think they did the hijacking! this is back to the matter at hand!
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