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NormanKliman -> RE: Five soleá falsetas por arriba (Jun. 6 2010 15:52:00)
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Thanks to all for your input and comments. I'm glad you liked the falsetas, especially because I've been working on a few ways to introduce them and spread them out instead of playing them one after another. I'll try to upload a new extended file soon.
In the current file, that's Ron's metronome in the background (my bulería setting going slow). I wanted to record with headphones and add a metronome track later (to get it to end on 10), but the headphone cable was too short. I tried, and it looked about as silly as you can probably imagine. [:D] The microphone and sound card are very poor quality. As soon as I got a decent take, I increased the volume and saved the file, so that's why it sounds so distorted. Hope to upgrade my recording equipment soon. My first purchase, a few days ago, was a pair of headphones with a long cable. [8|]
About the origin of these falsetas, there are actually a few different ideas there (I wasn't very specific in my first post). I was referring to the octave basses, and the slurred arpeggios on the trebles are actually another idea. The third falseta is really the one that I'm wondering about. Someone showed it to me in the 1990s without the basses, and I remember hearing it on an early Paco recording (no basses I think), with Camarón or Fosforito. The ringing basses under the flowing trebles is typical of Montoya. I haven't found a specific match, although he recorded hundreds of disks and it could be a tiny detail on one of them.
There's also a similar idea for fandangos. It's six beats of sixteenth-note arpeggios, with the third string open for beat 6:
---1-------1------
-----1-------1---- (etc.)
-5-----5-4-----4-2----------------(0)---
--------------------------4------5---------
--------------------------------------------
-----------------------------------------3-
I got this (and the beginning of falseta 2) from Pepe Núñez. Either way, por fandango or soleá, there are variations on lots of recordings from the last 30 years. My (wild) guess is that Paco got it from a Montoya recording, or that Montoya never recorded it but it's still his falseta and Paco learned it through Niño Ricardo. But I agree with all of your suggestions. The creator could even be one of the guitarists on those recordings from the last 30 years.
If anyone wants to chase this down, please tell us if you notice a recording with a similar falseta. I'm pretty sure it was recorded by Pepe Habichuela, Rafael Riqueni and Manolo Franco (and Paco of course), and I've heard the p-m-i double-triplet variation from a lot of players in peñas (Fernando Rodríguez is a prime example).
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