Bulerias Falseta - Free Lesson with Tablature (Full Version)

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JasonMcGuire -> Bulerias Falseta - Free Lesson with Tablature (Oct. 6 2007 8:21:41)

Hi everyone,

I have been really busy for the last couple of months, so I haven't had time to post much. I thought I would drop by and share one of the latest lessons from my website. This falseta is a bit on the advanced side, but it is certainly a technique builder and can be practiced slowly as an exercise and rhythmic study. I really can't stress enough the importance of slow practice for both technique and rhythmic accuracy. All 6 videos are included as well as the Tablature/Standard Notation file.

You will need Quicktime 7 or higher and the Sibelius Scorch Plugin. Both are free downloads available from the links below.
http://www.quicktime.com
http://www.sibelius.com/products/scorch/index.html

Enjoy!

Normal Tempo
http://www.caminosflamencos.com/bulF7F.mov
Slower Tempo
http://www.caminosflamencos.com/bulF7S.mov
Counted
http://www.caminosflamencos.com/bulF7C.mov
Right Hand
http://www.caminosflamencos.com/bulF7R.mov
Left Hand
http://www.caminosflamencos.com/bulF7L.mov
Commentary
http://www.caminosflamencos.com/bulF7X.mov
Score/Tablature
http://www.caminosflamencos.com/bulF7T.htm



guitartennis -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 6 2007 9:24:00)

thanks heaps Jason, your a champ.

cheers,
Blair



bernd -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 6 2007 11:09:48)

Great! Thank you.

The Scorch showing the Sibelius sheet has no print option. How can I print the whole transcription in 1 process?

Salu2
Bernd



JasonMcGuire -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 6 2007 11:38:24)

Printing is disabled......... Save the trees. [;)]



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JasonMcGuire -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 6 2007 17:48:34)

Romerito,

Attack is something that is particaularly important when playing for dance. Soloists can get by with less of it, but even soloists these days benefit from having a healthy attack, because it helps the guitar cut through the mix of accompanying instruments which has pretty much become standard. There are essentially 2 things that develop a players attack. Slow, Intense, Focused, Staccato Practice, with no dynamics.....Every note full volume. The second thing to develop attack is performance. Lots of performance. Preferably in noisy clubs or tablaos. Dance classes are also great for developing attack because you have to fight to be heard. The process takes years for most and then once you have it you have to learn how to use it tastefully and wisely. This is something that I am intimately aware of. Only time can help with that aspect. A warning comes with this type of practice.....Pay attention to your hands and the messages they send you. Don't over do it. Too much practice is worse than no practice at all. If you over do it and injure yourself you will have to stop playing for months. You can't rush developing attack in your playing. Be smart and take good care of your hands.

How is attack different from dynamics?

Dynamics refers to how loud or soft notes are played and how you use loudness or softness to create texture in the music. Shading is how some people refer to it, and I particularly like that term. Even a quietly played note can have attack. It is a matter of that note having purpose, intent ..... presence.Technique is important as well as the instrument itself. A well made blanca is going to produce more attack by virtue and that's why we use it most of the time in flamenco, although I am finding that the Cedar Top negra can be a great combo for accentuating attack as well.



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JasonMcGuire -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 6 2007 18:42:04)

One thing I forgot to mention, is to make a clear distiction between "practicing" and "performing". We all like to perform our stuff at home, but that isn't really practicing. It is important when you are doing the slow, intense, stacatto practice thing, that you keep in mind that it's intent is only for developing technique and that you "back off" and play more musically when "performing" or just playing in general. This practice also helps to make playing with attack a concious decision and will offer a player more control over dynamics. Acoustic guitar has always been a difficult instrument in regards to dynamics because it is a relatively quiet instrument. Clever use of dynamics can "fool" the listener into believing a passage is louder than it actually is. Play something quiet before the passage you want to appear louder.



ToddK -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 6 2007 20:25:40)

Definately agree with the point about fighting to be heard among a loud
goup, for an extended period of months, preferably years.

Its not so much about brute strength as it is, building endurance.

Not only do you have to cut through the noise, but you have to do
it for 45 min straight, or an hour, two hours, or more sometimes. You have to know
how and when to use it. At home, you can blow yourself out with strong
rasgueados, and simply take a 30 second rest.
But you cant blow yourself out at a gig. You always have to leave yourself
something in the reserve tank[;)].



Ron.M -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 6 2007 20:39:37)

To Jason and ToddK,
I'm not a performer, but those seem like very, very wise words!

I love this Forum for the damn quality of some posts!

cheers,

Ron



Ricardo -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 7:01:32)

Cool falseta man, thanks!

That little rasgueado in the VERY first compas of the fast version, you don't teach it slow, but it was cool. ami triplet ends i up, then mi,i up i down/golpe. Is that right?
What would really mess with folks would if you threw that little lick in at the end of the long rasgueado at the end.

Ricardo



JasonMcGuire -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 17:07:20)

Yes Ricardo, you have got it right. I use that little compas lick a lot. It is a little bit different in the slower versions. Sorry about that, but I am human......very human.
It would be cool at the end of the long rasgeuado. It seems like it should fit.
For me the real treasure here for rasgueado is that I am not doing your usual i,a,i triplet rasgueado. I am using i,a,i,a in sixteens. I like it because it has a little more sizzle that way. I got that concept from Roberto Castellon. I think he got it from Canito. Using that extra up stroke with a has the cool side benefit of making your a finger strong as hell for things like arpeggio and tremolo. [;)]

JM



Adam -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 17:38:38)

Jason, sorry for the newb question, in the i,a,i,a rasgueado, what's the pattern of upstrokes/downstrokes?



Conrad -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 17:50:20)

Yes!! The end rasgueado is gnarly... I feel like I may have seen it or heard it, but always thought it was muddied triplets or something but now I discover there's an extra stroke...

Anyway, I don't know this technique and I'm trying it now and it seems impossible! My a finger is so accustomed to returning right back early in preparation for the down stroke in I-A-I. So what do I do? Slow practice I guess. This is gonna be a mean fight...

Thanks for playing for us, Jason!!

-Con



Doitsujin -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 18:02:20)

You have a great way of composing. It all sounds full of energy. Thank you very much for this apatizer! If I wouldnt be so poor I would join your teaching-site imediately. Thanks for shareing very much.



JasonMcGuire -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 18:02:43)

down,up,up,down


quote:

ORIGINAL: Conrad

thought it was muddied triplets or something but now I discover there's an extra stroke...



One man's muddied triplets are another's sizzling sixteenth notes. Everything is in perspective now. Thanks Conrad.[:D]

It's not impossible Conrad, it just takes a little time getting used to it and working it into your regular routine. Of course you have to decide that it is valuable before you can make a commitment like that. I made my commitment the day I heard Roberto Castellon use it. It is great for Tangos, Fandangos, Alegrias........I have found ways to use it pretty much everywhere.

JM



JasonMcGuire -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 18:09:53)

quote:

ORIGINAL: Doitsujin

You have a great way of composing. It all sounds full of energy. Thank you very much for this apatizer! If I wouldnt be so poor I would join your teaching-site imediately. Thanks for shareing very much.


Thanks Doitsujin,

I will post more lessons here over time, so hang tight. You are making me rethink the price of the website. Hmmmmmmmm.

Thinking,Thinking,Thinking........



Doitsujin -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 18:22:27)

I have a question to you Jason.

Whenever I compose things, I forget the beginning of my new falsetas when I went on composing more. Its very hard for me to remember what I composed and in the same time going on searching for following things.

Do you have a trick to imagine your new compositions? Do you grab it immediately?

[EDIT: I dont think your site is too expensive. If I just take a look on the features, and the things you just donated to us.. I think the price is too low for this good quality and of course good instructions. Usually only players who cant really play and got behind the secrets of the technics and all produce such books and sites. Im very happy to see that a very skilled player started one. So I think I´ll join in near future. Im very interested in all your stuff. [;)] ]



JasonMcGuire -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 18:27:52)

I have my laptop nearby when I compose so I can record ideas as they come. I also do a lot of composing during my students classes. I have come up with great stuff. I forget it and I have to call the student up and ask them to tach it back to me.[:D]

JM



Mark2 -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 18:52:15)

Dang Jason, that rasquedo is smoking. I remember you showing it to me in tangos but the first stroke was a quick golpe with "a", then up with the "a" finger, then up with i, etc. To this day if i don't warm up that particular move before trying it, I can't do it clean. It's tough, but worth it. Seeing it at tempo in bulerias is awesome.



JasonMcGuire -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 19:12:41)

quote:

ORIGINAL: Mark2

Dang Jason, that rasquedo is smoking. I remember you showing it to me in tangos but the first stroke was a quick golpe with "a", then up with the "a" finger, then up with i, etc. To this day if i don't warm up that particular move before trying it, I can't do it clean. It's tough, but worth it. Seeing it at tempo in bulerias is awesome.


Is this the Mark from the infamous Maria Benitez Short Bus Tour of New Mexico? Truth or Consequences, Bloody guitars......what fun.
[:D]



Mark2 -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 20:13:34)

No, my name is Martin. I was your first student when you moved out to California. I used to play a lot at the dance school-for Virgina and sometimes for your wife. I also played for most of the local cast of characters at some point. Due to the demands of work and raising a family, I've had to back off from the flamenco scene. I still do a few gigs here and there, mostly with Chris the violin player and a few other guys. I have an agent who throws weddings and corps at me from time to time. I still play flamenco at home, and I often practice many of your falsetas. I think I may have worn out the grooves off your cd from blasting it in my car. Really great stuff there.



JasonMcGuire -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 20:38:57)

Hi Martin,

Mark2.....I thought it was Mark Ferguson, with whom I did a crazy bit of touring with through the dusty state of New Mexico years ago. It was a fun tour. Truth or Consequences is the name of a city there and was where we did a show. I had a cut on my index finger on the right hand that kept opening up during the shows and my guitar would be bloody at the end of each show. It must have looked cool from the audience.

Of course, I remember you. You were indeed my first student when I moved to Cali. How are things going? I am building a new recording studio here in Oakland. It will be an incredible room for acoustic instruments and drums. Great mics, great preamps, great room. You should come check it out when I get it done.

JM



Mark2 -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 7 2007 21:02:35)

All's good with me. I've got two daughters-one's a junior at UC Davis and one who's 13. I moved to Pacifica several years ago and am enjoying the beach lifestyle after work. That's really exciting to hear about your studio. I'd love to see it, and I'm sure there will be some great tracks coming out of there.



Conrad -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 8 2007 2:14:46)

quote:

One man's muddied triplets are another's sizzling sixteenth notes. Everything is in perspective now. Thanks Conrad.


[&:] Oh, sorry, actually I wasn't speaking in a negative connotation exactly... "muddy" as in dirty and "gnarly" as in totally awesome etc... Ya, I'm tickled by that tightly packed sound but couldn't find an appropriate way to describe it. I'm so happy to be learning it. I think I may have heard Paco play something similar in Niquelao maybe. I don't remember...

This reminds me... there is an example in Gerardo's Encuentro video, at the end of his bulerias, he goes for a long continuous rasgueado, I think it's P-A-I, and I was almost given the impression of him going off rhythm I was so unsure of what he was doing. But he ends up ending more or less in time, of course, so I'm left confused. I know you can do that technique manipulated in to sixteenths, too, but I don't think that's what he was doing there. I dunno, I guess it's not important to think about it too much!! [:)]

Thanks, again. I'm making my commitment today, too!



JasonMcGuire -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 8 2007 2:37:46)

quote:

ORIGINAL: Conrad

This reminds me... there is an example in Gerardo's Encuentro video, at the end of his bulerias, he goes for a long continuous rasgueado, I think it's P-A-I, and I was almost given the impression of him going off rhythm I was so unsure of what he was doing. But he ends up ending more or less in time, of course, so I'm left confused. I know you can do that technique manipulated in to sixteenths,


The sixtenth note version of the PAI rasgueado that you mention is something that Canito is famous for. P(up),A(down),I(down),P(down)
Try it. It is a fantastic rasgueado. If you have ever seen Canito accompanying dance and wondered why doesn't my rasgueado sound like that, then here is your answer. This is why I am speculating that R. Castellon got the rasgueado at the end of this falsteta (i,a,i,a) from Canito. It sort of makes sense. Also the two of them were working and hanging out together at the time. [;)]

Glad to hear you are going to invest the time to learn this rasgueado Con. It will be an asset to you one day. Go ahead while you are at it and work on the other "Canito" rasgueado and you will soon set yourself apart from most guitarist's who use a limited selection of rasgueados.

I know another secret rasgueado that Chuscales showed me. Perhaps Romerito would like to share it here. Hint........it has 12 strokes and starts with the little finger.
[;)]

Oops! I used 2 weenkie smilies in 1 post. I think that is against the law.

Later,
JM



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JasonMcGuire -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 8 2007 2:53:49)

Here goes the 12 stroke one..........little finger is E.

E(down),A(down),M(down),I(down),A(up),A(down),M(down),I(down),M(up),M(down),I(down),I(up)

Everyone seems to think that upstrokes are only for the thumb and the index finger.
Equality for all fingers!!![:D]

Your turn Romerito.

JM

P.S. I bet the 11 stroke is the same without the little finger.



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guitarbuddha -> RE: Bulerias Falseta - Free Lesson with Tablature (Oct. 8 2007 20:30:22)

Just on the subject of twelves. eami i(up)mii(up) amii(up) is quite nice for three beats with clearly distinguishable attacks on pinkie, i upstroke and a finger for beats one two and three respectively. Another one which is great for developing the pinkie is (in consecutive use of the same fingers the second is the upstroke) eaae amme amie. All twelve note patterns are good for practing with buleria compas playing one two three and then four notes per beat. This is good because if you consciously accent the upstrokes the polyrhythm will generate a really cool range of syncopations in each of the time signatures implied by the choice of 1,2,3 or 4 notes per beat.

You can also use the same idea to vary the amount of strokes in rasgueados with thumb. (uppercase P is upstroke lower case p is downstroke ) PipP mipP amip. Again this is twelve strokes and is good to do as part of your compas aural training with a buleria playalong. With this one it is good to accent the new finger included in the pattern as they emerge (i then m then a ). Interestingly if you replace the P upstrokes with i upstrokes and exchange mae for ami then you get an inversion of the first pattern which I mentioned at the top.

Does anyone ever use four stroke stuff like mi(down,down) mi(up,up) these are really effective for use on just a few strings at a time. All the combinations (im,ai,ia,ma,am,ea,ae) are good for a warm up. Also it is good to prevent poor articulation causing adjacent fingers from bleeding into each other articulation wise.


D.

PS Similar excercises can be used for arpeggios. For example a twelve stroke arpeggios to improve articulation for Pimami is PiPi mipi mami. To work on the weaker side of the hand more effectively use amam imam iPmi. To get good balance and fluency in starting on a or P the 24 stroke pattern combinining the two is also excellent. If you want to focus on planting then keep the inactive fingers in contact with the strings at all times.



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