Ricardo -> RE: Rationalizing the Bulerias compas (Mar. 16 2009 20:50:06)
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You are sort of on the right track, but what Todd is saying is the most important thing. The analyze away if it is fun for you, but nothing matters until you FEEL it and it is natural to groove with it and never get lost. One important thing you are missing is with the 6's, there is a fundamental accent pattern you did not have up there. Sort of related to your 7,8 10 thing, but more important. The PALMAS accent a certain way, and when you play, you have to groove with that feeling, or play AGAINST the palmas sometimes. The accent of the palmas is 1,3 of a 6 phrase, or 1,3, 7,9 of a 12 phrase. That is super important and missing from your analysis. In addition, you can sometimes have a lesser accent on 5 and 11 with palmas, which gives a total "up beat" accent pattern, against the 3/4 (foot on 6,2,4, or 12,2,4,6,8,10). And you have to make your playing groove against that like when you play against any other "up beat" music. In the case where you have ternary feel, 12,3,6,9, those palmas still work perfect, you just don't feel the 3 and or the 9 so "up", they feel more "down", which is fine as long as it all grooves. When closing on 10, many players I hear don't feel the 9 so good, which is just as important as the 3 IMO. Ok the other thing you miss in your analysis is the importance of relating the rhythm of Buleria to Solea. It is a different feel, but shows the importance of the 12 beat phrase vs the 6 beat phrase. In other words, there are times when yes bulerias HAS to be thought of as 12 beats. These things are learned easier when you accompany dance, and they become intuitive like Todd was saying. There are shifting feels that happen in bulerias, and they are easier learned just by doing it and grooving, accompanying dancers and singers, etc, than by mathematical analysis. Ricardo
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