|
Rmn -> RE: Rhythmic Syncopation Thread (Aug. 29 2013 14:41:06)
|
quote:
I find it a bit difficult to distinguish the syncopated parts from the non syncopated parts, the difference is not very clear to me. Could someone post a video or show an example of a single compás of bulerías or remate with and without syncopation, please?
Basically the rhythmical pattern of buleria itself is syncopated. So there is no non syncopated part about it in the first place. So at the end you are syncopating on a syncopated pattern.
A syncope is an accent that comes in an unsuspected moment in the rhythmical structure of what you are playing. It's not just giving an accent somewhere that is surprising. I think syncopation requires a lot of good taste and a good feeling for timing. Eventually you also have to get back on track.
If you really can feel the rhythm you can improvise syncopations. Good composed syncopations that are played very well in time along with interesting modulations are very apealing, interesting, surprising and virtuoso.
Syncopated falsetas are very important and required for dance accompaniment for example. Dansers want something rhythmically advanced to "montar" their falsetas on. That's why falsetas para baila are quite specific and require much more rhythically. On the other hand you should watch out with them during cante accompaniment because they can be too distracting and hyperactive and kill the aire.
|
|
|
|
