avimuno -> RE: How to approach theory? (Jul. 31 2011 8:43:52)
|
quote:
I'd need to be able to recognize chords by ear... I'm nowhere near to achieve that lol. It's not as unattainable as it sounds... get yourself something that can slow down the track you wish to transcribe and get ready to spend some time with your guitar. The trick to figuring out chords is to identify the root note... once you have that you basically have three options, the chord will be either a major, a minor or a dominant 7/altered chord. Everything else is down to how the guitarist voices the chords. So knowing that, you need to identify the root and the 3rd, which determine whether the chord is a major or a minor... the rest follows. It might be difficult at first, especially since flamencos tend to use very wonderfully weird sounding chords, but it's a great way to train your ears and get to know your fretboard. Definitely start with traditional cante... and a palos which chord progression's is not too hard to figure out... Tangos, Solea and Bulerias pop to mind... but also old-school Alegrias. Ricardo is right in saying that Alegrias tend to go anywhere harmonically as long as they resolve in the tone... which makes them difficult to transcribe. So, as I said, stick to simple tangos, solea and bulerias, or traditional/simple alegrias to start. It is also important for you to develop a repertoire of chord progressions to cante libre (granaina, taranta, rondena and minera mostly)... my advice would be to do the same... learn a few falsetas, or a piece, and put a cante track through a slowdowner and figure out the chord progressions using the same method as above and the falsetas or piece that you have learned. Here again, start with a traditional piece. Little by little you'll see that granainas, taranta and minera are all the same in terms of chords shapes and progressions (I know... risky claim... please do not shoot me! :-P) and that once you know one, you know them all because they are played at different places on the fretboard... for example the Taranta tone (that E chord on the second fret) is the same as the Granaina's tone, except that the Granaina's tone is played on the 8th fret... which means that everything is moved up 6 frets... from there it's a question of knowing your fretboard and learning as many chord progressions (here again, from listening to cante) and chords shapes as you can. The golden rule here again... listen to cante and do not overlook the old masters! Someone in Spain told me something I am finding to be very true... there is so many amazing new material that guitar students today tend to overlook the old school and fast-track in learning only the new guys. If you wish to really learn flamenco, you have to go back to Sabicas, Nino Ricardo and Diego Del Gastor to name only those 3... this is where Paco, Manolo, Gerardo and Tomatito have learned in order to become who they are, and these old guys represent the 'canons' of flamenco guitar... so do your homework.
|
|
|
|