Ricardo -> RE: flamenco guitar notation (Apr. 27 2019 15:22:19)
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So, what if, - we use one line tab only? - we omit time signature completely. Mark the base compas type instead (my graphic trying shown above left)? - we omit barlines completely. Mark the beats of the compas instead, and simply one line equals one compas? - we omit ties. Mark only the starting position of notes, not necessarily the exact sounding length, and mark a quarter as a rest, if no notes starting in it (even if a previous note sounds in)? - we make a difference in a good visibility between melody notes and ornamentations. Not try to figure out the exact rhythmic values of the latter, just mark them as what they are as embellishments? - yes this is a good idea visually and makes for easy reading. I personally like both notes and tab because I can sight read more clearly the melodic contours with standard notes, and of course tab is essential for fingering and position much prefered to penciling in string numbers and finger numbers etc. -well, at least there needs to be 12/4 to inform the reader how many beats and what you are trying to show as a beat relative to your beams and flags (8th notes and 16ths have no meaning without that). -you are actually using a bar line at the end of each compas, even though the rhythm feeling carries on down to the next line. But it has been done before yes, no bar lines or also I have seen dotted bar lines which implies groupings within the 12 count compas cycle but no hard down beats are intended except at “1”. And again, I hope you understand that having a long bar of 12 implies “1” is THE most important down beat in the phrasing. -I for one am strongly against NOT showing the precise rhythm of the ornaments. I found slowing down the recordings of these advanced players, especially Vicente, when there are repeats it is not a random “feel” thing, it is precisely rhythmic and needs to be studied slow with the metronome to get it to sound right. I am now in the same camp regarding the singing...those melismas that seem personal whimsical flourishes are very precisely executed and the only way for students to learn it is to slow it down and nail each and every detail. I know it seems tedious but that’s how I personally approach it. When ever I see as you do “grace notes” and what not, to me that is just laziness. Even a broken chord on the beat...most often it is NOT on the beat, but comes in as precise rhythmic divisions leading UP to the beat, and I think it is fair to notate that rather than just show a chord there. Same with rasgueado, I don’t like seeing a full chord with rhythm slashes when only certain notes in the voicing are being struck or ringing. Tedious I know, but my check used to be to synchronize the computer play back of a score with the recording and I want a perfect match (if tempo allows, meaning it doesn’t move too much). So I guess I really only like your first thought about the single line for a compas, and the geometric spacing of each count looks very nice and easy to read. The problem is when you need to cram some 32 notes in there and stuff, it can mess with the geometry and look of the score. And I have no problem with your gray bars denoting important accented beats and such. It’s just that the 3,6,8,10, 12, is only ONE pattern, it is actually not the true BASE of solea. The first thing I realized in dance class was that there are many OTHER ways to express the compas than simply marking those accents all the time. Please refer again to the video above of jason and the dances to see what I mean about changing the accents and such. -
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