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I have been a fan of his for a very long time. As a teenager he appeared in the Flamenco Puro show along side some of the greatest flamenco artists of the 20th century. He released an album while still very young that featured violin and piano, which included some great cuts. I just found this concert from 1998 and although the sound isn’t great it’s an interesting take on the “flamenco group” sound. He’s been a great artist for decades but is largely under the radar.
Posts: 4664
Joined: Aug. 9 2006
From: Iran (living in Germany)
RE: Augustin Carbonell El Bola (in reply to Mark2)
There is an interesting Fandangos por Buleria on his 2011 CD , also some weird very unusual tunings going on some track. Very dance oriented CD. He always reminded me on Nino de Pura, don't know why.
At 4 and a half minutes he plays a simple apreggio intro por solea. I would probably have never used it because of all the crazy options I’ve learned over the years but as I had my guitar out I played it as I listened and immediately realized how weak my version was. His playing has the weight and the intention I was missing. The difference between a professional and an amateur. It taught me that this simple falseta can and should be profound. It illustrated how everything should be played. With precision, heart, and everything else you’ve got.
RE: Augustin Carbonell El Bola (in reply to Mark2)
quote:
His playing has the weight and the intention I was missing. The difference between a professional and an amateur. It taught me that this simple falseta can and should be profound. It illustrated how everything should be played. With precision, heart, and everything else you’ve got.
Eso es!
This is level 1.5 material but in my opinion can't be fully learnt in the bedroom alone. It won't be so obvious what is missing unless accompanying, especially in a noisy environment or even a quiet one.
The next best thing is the accompaniment thread here. Mark, would be great to hear you accompanying a solea over there with this feeling you describe. If you choose one I'll have a go too.
I was playing for a singer this week and practicing here definitely helps me when I'm doing it for real.
Posts: 4664
Joined: Aug. 9 2006
From: Iran (living in Germany)
RE: Augustin Carbonell El Bola (in reply to orsonw)
That is a very important point. Exact same notes can be played completely different, when there is heart, years of experience, weight etc. behind them as Mark mentioned
Guys, just have a look at José Gálvez accompanying here. Even a single note and even pure silence is mastered with perfection here in my opinion. This is just magical.
Posts: 2037
Joined: Jul. 12 2004
From: San Francisco
RE: Augustin Carbonell El Bola (in reply to orsonw)
Hey Orson,
I posted this before. As I mentioned I’ve been studying with Tino online for a few years. He suggested I study this solea from El Falo. Unfortunately in this recording I can hear flaws in almost every falseta and adornment but this version was the best I could manage that day. It’s almost like an example of not doing what I’d like to be able to do but Tino said it was a good effort. I’ll listen to the examples on the cante accompaniment thread and give one a go.
His playing has the weight and the intention I was missing. The difference between a professional and an amateur. It taught me that this simple falseta can and should be profound. It illustrated how everything should be played. With precision, heart, and everything else you’ve got.
Eso es!
This is level 1.5 material but in my opinion can't be fully learnt in the bedroom alone. It won't be so obvious what is missing unless accompanying, especially in a noisy environment or even a quiet one.
The next best thing is the accompaniment thread here. Mark, would be great to hear you accompanying a solea over there with this feeling you describe. If you choose one I'll have a go too.
I was playing for a singer this week and practicing here definitely helps me when I'm doing it for real.
Posts: 2037
Joined: Jul. 12 2004
From: San Francisco
RE: Augustin Carbonell El Bola (in reply to Arash)
Fantastic!
quote:
ORIGINAL: Arash
That is a very important point. Exact same notes can be played completely different, when there is heart, years of experience, weight etc. behind them as Mark mentioned
Guys, just have a look at José Gálvez accompanying here. Even a single note and even pure silence is mastered with perfection here in my opinion. This is just magical.
Posts: 2037
Joined: Jul. 12 2004
From: San Francisco
RE: Augustin Carbonell El Bola (in reply to orsonw)
How about this one? Not the whole thing but whatever part you choose. I’m thinking of the second letra and the escobilla. A lot of solea vids without baile have no Palmas which makes it more difficult to stay with tempo fluctuations.
RE: Augustin Carbonell El Bola (in reply to Mark2)
quote:
How about this one? Not the whole thing but whatever part you choose. I’m thinking of the second letra and the escobilla.
Yes whatever you like, we can do more of a baile accompaniment practice. Maybe starting at 2.32 for two compas of footwork before the letra? Then baile up to 6.02?
Only issue is, can we get audio without guitar with the video so that we can follow the dancer. Not everything in baile is marked with the feet so audio only won't work.
Or for something audio only, easier to convert. In keeping with the feeling you described from the Augustin Carbonell El Bola tutorial: "weight and intention". We could do a letra from Fernanda. This video has clear palmas. E.g. we could do the letra starting at 3.56. It is Paquirri 3, if I'm not mistaken?
EDIT: I uploaded both to cante accompaniment thread. Did best I could but palmas are not always that audible. I used moises because the free lalal doesn't let you download, only gives a few seconds preview. I didn't want to pay before being able to fully compare it to moises.
Posts: 16070
Joined: Dec. 14 2004
From: Washington DC
RE: Augustin Carbonell El Bola (in reply to orsonw)
quote:
It is Paquirri 3, if I'm not mistaken?
No. Compare to El Machango to see the difference (Triana vs Cadiz). Best to use her version there but I like Perrate the best on the list of Norman's examples. It is interesting to me how Triana had such a huge historical contribution to Soleá, and by the time of Rito y Geografia, only poor old truck driver/pottery guy Oliver was around to represent.
In the Triana group lend your ear to these important cantes:Silverio Soleá/Petenera hybrid, Ortega (Polo/Caña macho), Rafael Moreno (very old, and he drops to C below E for the cambio), Andonda of course (her no.1 is very common), Noriega (basically to me it is Serneta of Utrera common form, but with minor personal detail changed that influenced Talega), This Machango that reaches the Octave (like Paquirri 2 and 3 you confused it for).
RE: Augustin Carbonell El Bola (in reply to Ricardo)
quote:
Compare to El Machango to see the difference
Thank you. I compared her Paquirri 3, El Machango recordings on Norman's site.
Her getting up to the octave 1st E and then moving to the 7th (E/D) in first line repeats confused me. But in Paquirri 3 she stays up and it's more about the 7th D. In El Machango it's more about the octave E and she then descends to 5th B. Though in the video I posted she is landing more on 4th A so maybe I'm not hearing Norman's example right. The cambio is different El Machango seems more familiar but not Paquirri 3, still work to do to understand that!
Posts: 16070
Joined: Dec. 14 2004
From: Washington DC
RE: Augustin Carbonell El Bola (in reply to orsonw)
quote:
In El Machango it's more about the octave E and she then descends to 5th B. Though in the video I posted she is landing more on 4th A so maybe I'm not hearing Norman's example right.
Joselero is not doing it right, if that is in fact the correct style he is trying (Norman names Paquirri 2 as the closer style). The others all do the same, E-F-E-D-C-A. The B note is typically skipped or glossed over, similar to Polo that does D held then C-A. They are all calling in the Aminor chord there.
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