Ricardo -> RE: Counting Bulerias (Nov. 14 2006 4:11:37)
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So now it is really CLEAR to the folks wondering, right?[:D] Same thing happened last time! Everyone counts differently, or thinks of it different, even though they all know it, and probably play the same stuff! And it is easy to fight about it too, last time some folks left the forum over it! So rather than add to the confusion by giving my 2 cents (I am sure it is in the archives a million times anyway), let me just say I agree that the very first stuff said that you should focus learning a PATTERN, how to play it in RHYTHM, meaning you can keep a beat, not worry about how to count it. Just play the thing steady. Use a metronome "tick tock" and play evenly, dont' add or subtract notes, or try to improvise, just play each note or strum, one beat to the next. Counting is for communicating with a dancer, that is the ONLY reason. Not for learning, not for composing, not for accompanying cante. So you have to count like he or she (the dancer) counts, or understand how to fit your music to their count or choreography. So focus on playing stuff and getting it even first. Later you will overlay numbers to the accents and feeling in your music. In other words you will understand where "4" or "7" are as a feeling, relative to the pattern/falseta you play. It will become natural, but you should not learn to PLAY from the counting. See what I am saying? So instead of giving MY counting method or description trying to explain how these guys are saying the same thing, I have some questions for you guys that play and gave your ideas already. As mentioned falsetas or anything really can start anywhere in the compas. What is the START of the compas? Rather, what is the HEAD and what is the TAIL of the compas? Well we can all agree on the END of the compas right? That is the cool thing about flamenco that other music does not have. It does not END on the down beat. Count 10 is the end. So if a falseta starts on 10 say, it is like a pick up note in other types of music. But a pick up, to WHAT? In other kinds of music, a pick up usually goes to the DOWN beat, the HEAVIEST beat in the cycle. 1. Ok so my question is, what is the DOWN beat of Solea, to you guys? 2. What is the DOWN beat of bulerias? 3. What is the DOWN beat of Solea Por Bulerias? Another question. Have you guys ever experienced dancers to get "crossed" to your down beat in escobilla? And finally, have you experienced an escobilla of Solea that had a "2 cycles of bulerias inside one of solea" feel? Ricardo Sonikete, what is your name on the CD and which pieces do you accompany? Oh, and your upload was helpful, but it was a llamada that called the bulerias, rather than a continuous rise of tempo of the escobilla. A good example of WHY dancers count both palos the same, but not really the whole picture.
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