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Miguel de Maria -> report on barrio la vina (Apr. 7 2004 20:14:39)
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Florian, I went over Faucher's transcription (now I feel guilty, I'm going to have to buy a copy! :)), and compared it to my own transcription. Besides the fact that his 1's look weird, there were quite a few differences. One of them was that all of Paco's fast runs are sixteenth notes. I couldn't really figure them out, maybe he speeds up on these, as opposed to doing 5 or 6 notes per beat, as I assumed. I think he speeds up on his picado runs to show off and sacrifices compas. Although I will have to study it more, this is just an impression.
There are a couple of Paco's idiosyncracies that stood out. One of them is that he likes to use the thumb a lot, with the left hand in a spread position. Picture a barre chord with your fourth finger stretches out to hit the 9th, and that's basically the position. He does this a lot, using it as a melodic theme quite often in this song.
Paco plays with his thumb a lot, using lots of triplets in the formation of p slur p p. His remates are rather simple, and use the "downward" ornament of ima p, rather than ami p. I find this harder to do and expedite it by planting the ami before executing the ornament. It's still hard to doo fast and even, though.
Paco's picado is very fast of course, but I think one can still play this piece with a merely serviceable picado speed, perhaps sixteenth notes at 140-145. This isn't slow or anything but not nearly as fast as Paco gets up to. I think he gets up to sixteenth notes at 190 or so in this piece but I'm not sure. Most of the runs are in E minor, or E major first position, although he does do one run at the fourth position. Practice your scales folks! He doesn't play straight up and down either, he has little patterns, too.
The tremolo he plays is more complicated than one might think. Instead of playing bass and 4 identical notes he often throws in different notes on the "tremolo" part. It has a gracenote or ornamental feel, makes it sound more groovy and flamenco-ey, for sure.
Paco does a lot of this piece in first position. He uses a lot of out-of-key notes as passing tones, in a very tasty way. He alternates between E major and E minor a few times. He does some alzapua, and he does some index finger 'alzapua' as well. Play a bass note, then index down and up. it sounds like alzapua and I wouldn't have figured this out without the transcription. One nice thing about this technique is it teaches your fingers to stay near the strings and not flail around. Also you have to control how many strings you hit, sometimes you're not supposed to hit the open E string.
The little rasgeuo he does at the end is pretty much all 5 stroke x a m i i that we all learned starting out with soleares.
This is a pretty easy piece, given that's Paco's piece. Sure, to play with Paco's speed and power is impossible, but an advanced guitarist could add this to his repertoire with little problem. In fact, it's a good piece to learn because it's a great thumb workout, there's plenty of picado with various patterns, the left hand does a lot of stretches; add that there are also arpeggios, tricky tremolos, and lots of remates and golpes, and you have a "meaty" piece that will give you stuff to work on for months/years! :)
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