NormanKliman -> RE: Playing to compas...help! (Sep. 30 2009 0:41:43)
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Hi Patrick, I'm not sure I understand your question, but, with exceptions, the compás has to be followed strictly from beginning to end. If you're playing a memorized bulerías and you lose your place in the compás, you'll have to come back in at the exact same point in order for the rest of it to be in compás. Ideally, you want to develop such a keen sense of rhythm that you never lose your place in the compás even though you lose your place on the guitar. From what you say in your post, it sounds like you can already do this in 4/4 rhythms. It takes years to achieve this in flamenco because first you have to spend a long time just listening and following the compás in your head before you can do it while playing. I haven't heard you play bulerías, and the counting patterns sometimes make it confusing to talk about these things, so this post might not address your issues, but I suggest that you make sure that you're making a distinction between guajiras and bulerías. X=accent X-o-o-X-o-o-X-o-X-o-X-o 1-2-3-1-2-3-1-2-1-2-1-2 guajiras and another style 2-1-2-3-1-2-3-1-2-1-2-1 bulerías, soleá, cantiñas (alegrías) There's more to this than just changing the position of the numbers. If we use syllables instead of numbers it's still not perfectly clear, but maybe it shows the different aires involved: DUM-da-da-DUM-da-da-DUM-DUM-DUM (guajiras) da-da-DUM-da-da-DUM-dada-DUM-dada-DUM-da-DUM (bulerías, soleá, cantiñas) Guajiras sounds "chunkier" and more simple (DUMmed down, heh-heh), and the other styles have a more sophisticated rhythmic undercurrent. Also, the tempo is very important. Soleá and cantiñas are slower, guajiras is faster, and bulerías is usually a little faster than guajiras. But bulerías and guajiras feel very different from each other. Anyway, getting back to your question, I think you'll find it interesting to listen to the way that different singers handle the soleá compás. Most will sing each line of verse over a full compás, waiting if necessary for the new cycle to begin. But the really good ones like El Borrico, La Piriñaca, Juan Talega and Agujetas Viejo jump right in on the 7-8 (which I assume is the first 1-2 in your counting pattern). I've actually heard people suggest that Talega didn't have good compás because sometimes he didn't square away a new line of verse with a fresh 12-beat cyle.[:@] Hey, I enjoyed your version of Mr. Sandman!
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