Guest -> RE: chug! chug! (Feb. 17 2005 10:45:43)
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Hey Ron, the important thing for me was to learn how to tap my foot to the "accented" beat. Regardless of how you count it, for me, I tap my foot once every three beats, and play off of that feel. It is like a waltz, but very slowwwww. I think of it as 6/4: ONE two three, FOUR five six, accenting musically beats "three" and "five", but feeling "one" and "four" very heavy. But I understand what Jim was saying. Counting it as "one two THREE", etc, helps to overlay this phrase of 12 counts w/ Solea, Alegria, Buleria, etc, where you would feel 3,6,9,12 w/ the foot, but change chord on 2, and accent 4 w/ rasgueao, and the GFE progression would come on 6,7,8, w/ the final strum on 10. That would be an attempt at using the 12 count method to be the one and only way to apply math to flamenco rhythms. But the feel really is just in 3, w/ the repeating accents happening in 6's like Sean said. Starting falsetas on non accented beats are felt like pick up phrases that lead into down beats. Just learn to play off of, with, and around your slow steady foot and you will get it. Learn to accent your phrases on the down beats too. Sevillanas has a similar feeling guitar-wise. (foot)-E7-Am-(foot)-Am-Am-(foot)-F-E-(foot)-falseta starts- Looks weird, but learn to keep that foot going and take care w/ what happens in the space between foot taps. Some falsetas may start on a foot tap like this familiar one: E-------0------------/--0---------------0--/ B-------0------------/--0---------------0--/ G-------1------------/--1-----------0--0--/ D-------2--3-2-0----/--0-----------3-----/ A-2-3-------------4-/------3-2-0---3----/ E--------------------/---------------------/ E----------0-----------0-------------0-----/---------0------------0---------/ B-------------------------------------------/---------------------------------/ G-------------------------------------------/---------------------------------/ D------3----------3-------------3----------/---------------------------------/ A----3-------3-2----------2-0-----------0-/----0-------------0-------------/ E--------------------------------------------/-3----------3-1----------1-0--/ The next bar would be the E chord strum after the foot tap to finish up. So you have to focus on the notes w/ the foot; accenting them helps. Each bar has the foot only once, on the down beat. So that is the first B note, the E7 chord w/ open D string bass, the single 5th str. C note of the alzapua, and the G note on the 6th string of the alzapua. The rest you have to learn to feel in the spaces between taps. Do this for all your falsetas and you will eventually get a natural feel for the phrasing. Ricardo
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