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Posts: 16366
Joined: Dec. 14 2004
From: Washington DC
RE: Faucher's Videos of Gerardo Núñez (in reply to machopicasso)
These are from his private collection so since he loaded these excerpts himself that is all he wanted to share. You could write to him and ask him if he has digitized them all, maybe he would share with you?
RE: Faucher's Videos of Gerardo Núñez (in reply to Ricardo)
quote:
These are from his private collection so since he loaded these excerpts himself that is all he wanted to share. You could write to him and ask him if he has digitized them all, maybe he would share with you?
I may give that a shot once things settle down a bit. I'll report back if I do.
Any idea why Faucher didn't transcribe Vol. 2 of "El Arte de Gerardo Núñez"?
Posts: 16366
Joined: Dec. 14 2004
From: Washington DC
RE: Faucher's Videos of Gerardo Núñez (in reply to machopicasso)
quote:
Any idea why Faucher didn't transcribe Vol. 2 of "El Arte de Gerardo Núñez"?
My feeling was Gerardo's wife was always very strongly against filming at the curso, and this extended to Gerardo's playing career. I remember a story where she asked to see someone's high 8 camera that had filmed Gerardo and she opened the thing for the tape then pulled it out and unrolled/destroyed it.
So as you can imagine, the fact Faucher filmed him in the hotel there to make a book for sale was problematic. When royalties started dripping in super slowly Gerardo (or his wife?) accused him of not being honest and a large part of the community of guitar players (knowing Faucher used to sell hand written tabs under the table anyway) chose to blackball Faucher (in their own way). The result was at the time Faucher was trying to do these legit publications (Tomatito Melchor, N. Ricardo etc.) the Paco de Lucia book failed to manifest via Paco's family estate (Ramon wanting to start controlling the brand around the same time the Carrillo guitars appeared and the "Conde" gravina was asked to stop marketing his model).
So this guy Jorge Berges was asked to do the Paco book, also a student of Nuñez, so he was asked to do that vol. 2 as well at the same time the first Paco books appeared on the market. It was a shame for two reasons:
1.Flamencos did not understand how royalties work and what the true market for partituras is.
2. Faucher does exceptional work and Berges versions are horrible.
Another reason for drama with Faucher was because he drops clues to catch plagiarizing and caught Encuentro in the act (I can confirm a copied mistake of Nuñez buleria for example) and Faucher called them in Switzerland to cuss them out. So he got a bad reputation that spread throughout the community. Oh well. At least for a brief time Nuñez could sell his transcription books at the curso and keep all the money (vol. 2 only). But to say it has problems is an understatement.
RE: Faucher's Videos of Gerardo Núñez (in reply to machopicasso)
Appreciate the history regarding all of this, Ricardo. The whole debacle with Faucher, the later falling out, Berges, etc, is just so much unnecessary drama. I don't know of any other instance of a transcriptionist -- especially one as excellent as Faucher -- choosing to put intentional errors into their scores to weed out plagiarism. I know that any decent player will be able to catch them, but the whole premise is kind of lame and just speaks to some larger systemic problems, both with respect to the possibility of plagiarism (which really exists anywhere and you can't *really* protect against it, especially nowadays) and the lack of business acumen with respect to evaluating the market for sheet music. Especially in the flamenco world where so much is done by rote anyway.
Posts: 16366
Joined: Dec. 14 2004
From: Washington DC
RE: Faucher's Videos of Gerardo Núñez (in reply to Bulerias2005)
Of course, many things about intellectual property rights are petty, however, this tidal wave of the internet streaming has effectively erased a lot of those petty details....only to reappear via these robotic algorithms of YouTube that go after claims of copyright, and guys like Rick Beato having to go to court in suite and tie or hire a lawyer to refute claims which are clearly "fair use" etc. It is still pretty "lame" as you say. Fighting for pennies is hilarious. Soon enough the robots will take over it seems.
Posts: 16366
Joined: Dec. 14 2004
From: Washington DC
RE: Faucher's Videos of Gerardo Núñez (in reply to rombsix)
quote:
This guy?
Yes. The Nuñez had some bad mistakes, and as I said, he copied the error of Faucher in the Gallo Azul. Later the first Paco book likely came from some weird compilation or something because he seemed unaware of the track order, inexplicably mixing a few tracks of Fabulosa with Duende, and again many rookie mistakes in the score. Nobody in the circle bothered to check accuracy or even the darn track list (very unacceptable). However, the second book Fantasia, was MUCH improved (all tracks in proper order and decent fingerings) and I can only attribute the difference to the likely scenario that he referred to other sources such as available transcriptions of Faucher and others.
He might have chosen on his own to shift the soleá beat accents so count 12, 3, 6 and 9 are DOWN beats in 3, but since I used his score as a base for the Fandango tutorial I noticed many compás errors there. Perhaps because it was free tempo form and there was a certain spot where I believe a studio edit ruined the compás paco actually played, he did not latch on to the legit phrasing that was there, I don't know but it was a mess.
I repaired some fingerings and such in El Tempul years ago, and the Guajiras tutorial. But met him at Gerardo's curso years ago and thanked him for this essential book of guitar music, which even with errors I find to be super important in my library. Why be negative of the other stuff? So I would avoid his vol. 2 of Gerardo and Fabulosa of Paco but the Fantasia is decent, and I am happy to provide any corrections.
RE: Faucher's Videos of Gerardo Núñez (in reply to Bulerias2005)
quote:
I don't know of any other instance of a transcriptionist -- especially one as excellent as Faucher -- choosing to put intentional errors into their scores to weed out plagiarism.
As I recall, on an earlier thread years ago another foro member suggested that Faucher might have borrowed the practice -- sometimes called "copyright traps" -- from earlier cartographers. According to this article, the practice is still in use in online maps and dictionaries: https://www.atlasobscura.com/articles/trap-streets-with-no-names
Anyway, I wouldn't fault Faucher for the practice, especially after the Encuentro episode.
RE: Faucher's Videos of Gerardo Núñez (in reply to machopicasso)
Can you guys tell just by listening what exactly the right hand is doing? In flamenco guitar transcription the trickiest part is the left hand fingerings. No?
Posts: 2977
Joined: Jan. 30 2007
From: London (the South of it), England
RE: Faucher's Videos of Gerardo Núñez (in reply to devilhand)
quote:
In flamenco guitar transcription the trickiest part is the left hand fingerings. No?
I'm not so sure.
I'd say that was the case for me early on. But the more I know of various chords and positions it becomes natural and obvious. Even when you come across a strange voicing it almost feels like the fingers just know when they are meant to be. (Ie only one real option) That's not to say I know 100% of the time.
I think the same goes for the right hand in my experience... obviously exceptions....Infact some of gerardos may be some of those exceptions!! especially the freaky tunings!
Posts: 16366
Joined: Dec. 14 2004
From: Washington DC
RE: Faucher's Videos of Gerardo Núñez (in reply to devilhand)
quote:
ORIGINAL: devilhand
Can you guys tell just by listening what exactly the right hand is doing? In flamenco guitar transcription the trickiest part is the left hand fingerings. No?
Not always ...without video the ear can be fooled. Sometimes I know from experience the technique used. In many cases I have been surprised when I see the video and there have in fact been cases where there was a change or evolution going on in the player himself. Having as many sources as possible is ideal.
RE: Faucher's Videos of Gerardo Núñez (in reply to machopicasso)
Can anyone tab this famous Bulerias part at 0:36-0:40? I would appreciate it. I often hear it in Bulerias from Jerez. So it seems to originate from there.
Posts: 16366
Joined: Dec. 14 2004
From: Washington DC
RE: Faucher's Videos of Gerardo Núñez (in reply to xirdneH_imiJ)
while hard to hear, and his knee is blocking the view, there is an imperative golpe on the third beat of measure 6 (count 5), while the Bb (add6) is being held.
The specific A7b9 arpeggio remate is done the same year by Paco de Lucía and Paco Cepero (1969), El Tempul and in the bulerías of Maria Vargas live in Germany where they worked together...Cepero also does the picado falseta of El Tempul, so it is not clear to me who was influencing who.
The end of the falseta at 1:15:
at 3:19:
For sure it is PDL staple expression ever after. Sabicas used a similar arpegio but it is just the basic soleá type remate arpegio played quickly with the thumb rather than fingers.
Melchor uses a similar thing por Arriba see at 0:30:
And that relationship above is why Faucher (back on topic ) and many others, notate the bulería shifted a beat to the left vs the score above. It is a "secret code" that connects the Soleá and Bulería as formal structure forms.
Posts: 16366
Joined: Dec. 14 2004
From: Washington DC
RE: Faucher's Videos of Gerardo Núñez (in reply to machopicasso)
quote:
ORIGINAL: machopicasso
quote:
...there is an imperative golpe on the third beat of measure 6 (count 5)
Wait, what is an "imperative" golpe?
one that "must occur at all costs". Basically it grounds the right hand for the up stroke that occurs next. I think of it more as "grounding" or stabilizing the right hand. Perhaps you can do it without a loud nail sound, just use the finger tips more for a bassy "thump". I normally teach beginning students to do TWO glopes after the Bb(add6) chord on count 3, basically continuing the two-tap expression on counts 4 and 5 so you have tapping occur on 1,2, 4,5, 7,8, then rasgueado on 9-10, leaving the last "grounding golpe" optional on count 11. Later on I show how to omit the golpe on count 4 so it gives some breathing room or dynamics to the typical compás phrases. But for sure the idea of leaving the hand in the air and just coming up under the strings on count 6 is not correct in my view.
Posts: 1971
Joined: Dec. 2 2006
From: Budapest, now in Southampton
RE: Faucher's Videos of Gerardo Núñez (in reply to devilhand)
xxx020 is an A7 (x02020), it is indeed an upstroke by the index (just like all the 03s). Both golpes are "imperative". I use Guitar Pro to write the tab, I use my ear otherwise. Transcribe! is the software I use when I need something slowed down, but there are others that can do the same thing.
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