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Ricardo -> RE: Fandango de Huelva and foot tapping (Jan. 8 2007 17:35:08)
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"I find it difficult or weird to go 3 tapping over the basic compás which is 1 x 3 x x x "
You neglected the important count 5 rhythmic close.
Yet again maybe some confusion without corresponding chords to know HOW one would count it. And starting a falseta is no different than anything else in Flamenco, once you understand the compas as a loop, the only thing you need is the proper "ending", you can start manyways. And once again the half compas comes into play. AND once again, compound meter where you have 3/4 against 6/8, and vice versus, PLUS the subdivision synchopations. Really it is not so hard if you can already play bulerias/solea etc.
So, I like to think of head and tail again. E7 is on the down beat, then you have Am, G on the down beat, although you can sometimes "feel" that and leave it blank or golpe, then F-E. So how to count it?
If you superimpose this on the "count" of Solea, I would Put the first E chord on the 12, so you change to Am on count 2. The accented Am then is count 4. Then G chord on 6, F is 7, and E is 8. Golpe on 9, then rasgueado accent on 10. The FOOT or basic heavy feel is 12,3,6,9 as mentioned earlier. Just like in bulerias or jaleos you can have that feel and play off the foot at times, you just have to get used to this feeling. Bulerias is often the reverse, where the music might accent in 3's, but your foot would be on 2,4,6,8,10,12. Fandandos is opposite this feel, you often emphasize 12,2,4,6,8, etc, with the music, but your internal beat feeling has to be 12,3,6,9. I would say it can "switch around" more in bulerias than fandangos. Again you will find half compases, because the 4 and 10 can both be the "closing" point. Especially with the first line of a sung copla you will find it.
Falsetas can start on 10 like a pickup, or 4, since there is symmetry, or 12, the downbeat, it depends. The copla relative major type falsetas usually start on or after 12, the E phrygian variations between coplas more often start with a pickup. But I don't think of that as a rule, just a generalization. The most important thing is to internalize the 12,3,6,9 feeling, and learn how the accents of the music are often "against" that.
Cool thing is once you get real comfortable with fangangos, a lot of those phrases work great in the other 12 palos. PDL often played those fandango type pickups in his bulerias or jaleos. He did a fandango alzapua in his solea por buleria on "Almoraima". Etc, etc.
Ricardo
PS, I don't like the 12 count for fandango, and don't use it with dancers, but just here to illustrate how the feeling of fandango and solea could be super imposed. I have seen transcriptions of fandangos written many ways. To me is is easiest to understand as 3/4 where the down beat is "one" of course, foot always on one, or in 6/4 the foot would be one and four. 6/4 does not give that info normally, so I prefer 6/8, but very slow bpm. (eigth note= 150+or-)
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