Fluknu -> Suggestions on "modern" compas (Aug. 30 2021 9:41:50)
I've been slowly learning the more modern style for Buleria and Tango. Just the rythm.
Although my main focus still is on classical compas (as I'm a beginner).
I was wondering if some of you guys had any suggestions on how to get into the more modern style. I'm listenning to bulerias and tangos and I try to see what they do (like with Capullo or Jose merce).
I've also been listenning to Vicente amigo and the mix of rythm and arpeggio is just terrible.
So I've just started practicing "Roma". It's really not my prefered song of his, but I found the PDF so I go into it. I decided that it was a good exercise to practice other types of Arpeggios.
But I'm looking for ways to play the compass with less fillings, more spaces, and mixes of arpeggios and rythms.
Although my main focus still is on classical compas (as I'm a beginner).
A hand grenade of ideas / crticiisms.
Neither Jose Merce nor Capullo are particularly modern by most standards.
Vicente is a genius. But he plays a little differently from most guitarists in my opinion, and his composition includes a lot of non traditional flmaenco infuences.
For bulerias and tangos - Moraito Chico. Siempre.
Rewind a little. What song or artist got you into flamenco?
Thanks for your responses. Yeah, I thought I should clarify a bit.
For me, and I might be wrong, a more modern form of Buleria is for example the way Moraito accompanies José Merce in the song "Lio". Or for Tango, the song "La Culpa" from Capullo de Jerez (which seems a mix of rumba and tango).
The classical tango for me is for example "Rosa Maria" from Camaron.
I'm working on Lio at the moment. I don't have many questions about it, as I have a good ear and can pick up most of it.The difficulty comes from the various accentuation that are just amazing. But I'll get it.
As for Vicente, yes his style is really mind boggling, although it's sometimes to sweet for me when he plays alone. I love it when he accompanies a singer (Potito for example).
Basically, I want to start working on more modern things, but I don't know if the term is right. I say modern when it doesn't have the traditional compas.
I hope you get the idea - I realise it's still a bit obscure.
Thanks for your responses. Yeah, I thought I should clarify a bit.
For me, and I might be wrong, a more modern form of Buleria is for example the way Moraito accompanies José Merce in the song "Lio". Or for Tango, the song "La Culpa" from Capullo de Jerez (which seems a mix of rumba and tango).
The classical tango for me is for example "Rosa Maria" from Camaron.
I'm working on Lio at the moment. I don't have many questions about it, as I have a good ear and can pick up most of it.The difficulty comes from the various accentuation that are just amazing. But I'll get it.
As for Vicente, yes his style is really mind boggling, although it's sometimes to sweet for me when he plays alone. I love it when he accompanies a singer (Potito for example).
Basically, I want to start working on more modern things, but I don't know if the term is right. I say modern when it doesn't have the traditional compas.
I hope you get the idea - I realise it's still a bit obscure.
Starting with Lio, there are not really a lot of special accents. It starts with treating the thing as all half compas to start, no 12 phrases. To approach that take the main taranta chords (F# and G) and use the wrist rather than fingers to strum, accent the count 3 as normal, or rather do a 3& accent. The same feel happens when ever you change a chord on 9&. In all honesty there is no difference between 3 or 9 in terms of feel, by accenting the & you give a sort of anticipation to count 10. This is also happening to count 4, so there is a symmetry to the phrase and after some practice you should not notice if it was a 3 or 9 you just accented. This feel carries the entire piece honestly. You only change on 3 or 9 and always accent those.
There is one remate that you can see clearly at 3:05, let me know if you need it broken down but it is basically a 7-10 remate with off beat accents but shifted 8-11.
I think it helps to just listen to a lot of “modern” material. The more exposure you get the more it just starts to click and sound familiar. There is more syncopation, and a lot of the rhythmical ideas get repeated again and again. Vicente recycles a lot of stuff for example. The Jerez crowd is always a solid foundation!
Thanks for the reply Ricardo. I was apprehending the thing as a Buleria in 6. This makes all the changes on 3. Except for the break at 1:00 where all the chord changes are on 6 and 3. I will try to see it the way you do, to see if there's a difference of feel and comfort for me.
The other thing is that I was working with the song from the album and I had never seen that video. So I had my capo on the first fret, which gave me a start in E- / A-/ F and son on. then for the resolution I was playing a B andalous with the last two open strings. For the C, a sus9 with the G on bass. Guess it was not the right way.
As for the remate, tempo wise it's ok. It was more "which kind of rasgueo/fingers" to use. The one at 3:05, if I'm correct is hand down/hand up/ami down/ hand up/ hand down/ Pause /hand down/ hand up. ?
The one at 0:58 is thumb up/ami down/ thumb up/hand down?
And Jason, if you have any suggestions of songs that you've been working on, don't hesitate to give me the links. I'm listenning to a lot of flamenco. I have momentary relapse where I listen to Rock...but I'm nearly cured :) (just joking)
