Pimientito -> RE: Paco de Lucia and the Contemporary Flamenco Guitar (Jul. 3 2009 0:34:26)
|
quote:
my favorite thing is that it says his father was a student of segovia's " I have only one teacher, and that is myself....and only one student, and that is myself" - Andres Segovia Getting back to the paper, I have to say Its pretty annoying to see the work of Gerardo Nuñez reduced to the following. "Gerardo Nuñez (b. 1961) Analysing: Bulerias Guitar: Negra (Rosewood) Performing position: Crossed leg. Same as Paco de Lucia. Harmonic Analysis Key Chords used g#m*, Im, II7, bIII, IVm, Vm, V7b9, bVI7, bVI7,9, bVI7maj, natVII, bVII Auxiliary Dominants: V/bIII, V/IV Substitute Dominants: none" And this is the basis for the conclusion that Gerardo Nuñez has not "done any innovation or contribution in any field of flamenco guitar." If Rubens posts get approved I would like to ask if firstly he has ever seen the Gerardo Nuñez teaching video, if he has ever seen Gerardo Nuñez play live, and how he explains the attributes the following to paco de Lucia. 1. Slap bass technique in "Hacia mi" 2. 3 fingered picado was used on one string in pacos columbiana. Multi string 3 fingered picado runs first appear in Nuñez recordings. 3. Alzapua on one string melodies such as in Nunez verdialles 4. Tunings such as Eb, Bb, Gb, D, A, E, The drop Bass C and D# treble, are as far as I know never recorded by Paco de lucia. 5. Farruca in drop D, Farruca in Tono rondeña, Solea por buleria/ buleria in rondeña, solea in Drop C. All of these can be considered innovations. One of the most inventive things about Gerardos music is to change the tunings and keys of the different palos to get new tonalities. This experimentation can not be all attributed to Paco de lucia.
|
|
|
|