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Ricardo -> RE: Falseta counting confusion (Dec. 27 2023 20:24:45)
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quote:
ORIGINAL: xirdneH_imiJ
It's a bit weird that bulerías are taught so you think the accents are on 12, 3, 6, 8, 10 yet the the 6-8-10 sometimes happens on the guitar, but nearly never in palmas or other rhythmic accompaniment.
I never ever thought of a half compás as a 12-1-2-3-4-5, rather a repetition of 6-7-8-9-10-11; so if I ever detect a regular compás followed by a half compás, I'd say 6-7-8-9-10-11-6-7-8-9-10-11. In a cante accompaniment situation where the singer is just doing his thing extending before the remate, I'd just keep counting the 6-11 over and over until I detect the note that signals the end.
It is not “weird” when it relates to Solea…which is the main point about the song form and counting it AT ALL. But it is more the specific 1,2,3…expression that closes on 10. I remember first discovering the “secret code” there, listening to carmen Amaya’s bulerias and it all made sense. There are plenty of times count 9 is accentuated (and in fact that is exactly what the palmas are doing a lot of the time, 1,3,7,9 accents), and a falseta melody can be thought of as looping the “6,1,2,3,4,5,6,1,2,3…etc” portion where the accent is 3 and 6 repeating (12=6 if you prefer). It is arbitrary anyway until the solea llamada is expressed “1,2,3….etc”. So, I DON’T teach people to count at all until they can already play the pattern and feel the symmetry, such that, before they know any better, the student feels what will eventually be 3 and 9, the EXACT SAME WAY. I even show the rasgueado on the Bb to beginners that would effectively be like an accent on 4, before they get any fancy ideas that it always has to happen 9-10.
Later on bridging Solea and buleria is where the counting comes in to help. IN the thread I linked it is discussed with McGuire providing excellent examples.
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