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ORIGINAL: Stu
Is the woman actually there or is she the ghost of a woman who used to live there??

can they see her? shes freaking me out

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que quieres de mì,que quieres de mì
si hasta el agua en que yo me mojo
te la tengo que pedir.

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ORIGINAL: ramon roman
can any one tell me the chords he is playing?? .... I love that sound

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ORIGINAL: Dudnote

Ra Ra Ra! Great question - you actually got me studying cante accomp instead of noodling about aimlessly like I usually do.

Here's a jpg copy from a pdf scan of some scrappy paper notes. The pdf is slightly clearer, send me a PM if you'd like that too.

You'll see, I don't know what to call chords half the time. I started calling one Gm7+g# and then decided it was really better off as B♭7. Then there is the one used a lot when singers go high, I always used to think of it as Dm even though there is a #5, but it's Dm in the sense that it often starts a cadence to A, but when you look at it it is only B♭ played on just the top 4 string, can't say which is "right", but I call it B♭(2) here.

When different voicings of the same chord are used I use (1) (2) and (3) to point to the "chord diagrams" at the top. If I just write C7 it will be C7(1). Actually, that chord is really C7+2 or C7+d, but no one writes that every time do they?

The move when he goes C7(2) -> F7 (perhaps it has a fancy name) I remember Ricardo has a video somewhere where he discusses that and how Manuel Morao would do the chords in the opposite order followed by a half compas thing.

For the outro you have a cycle of 4ths which is very common as an outro, except the first time he plays it he does a chromatic variation which was a new one for me. The second time he plays it it's more standard.

I don't know what you call it when a chord or part of a chord is held and one note is placed on-off-on-off-on-off for effect. It must have a name, it's the epitome of classy accomp playing. I tried to write out some of the on-offs as +c -c +c -c, but gave up and started using ±c as a shorthand instead.

Hope that helps. It certainly helped me!! [:D]

My aim in life now is to be able to copy Miguel Salado's facial expressions when I play guitar, or write and email, or trip over the cat, or take a dump, or.... or... or... He is the Guitar Buddha!

Talking of which, anyone know what happened to our GuitarBuddha?

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but if I take them here all I'll learn is the difference between Lewoz, Kaladja, Pagenbel, Toumblak, Grage, Roulé and Mindé.

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ORIGINAL: Morante

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but if I take them here all I'll learn is the difference between Lewoz, Kaladja, Pagenbel, Toumblak, Grage, Roulé and Mindé.

[:D] Forget all this because it is really easy. You only need to know the cante. Forget complicated chords and follow the singer; Miguel makes several mistakes but nobody minds. He is from Jerez and still does not understand bulerías de Cádiz. He had to accompany Perico Bancalero in the Peña de Juan Villar the other night in a fin de fiesta and he was lost. He will be very good with time, just like Higuero.