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RE: Bulerías basic timekeeping.
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[Poll]
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Bulerías basic timekeeping.
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Marking a steady beat in 2's (2,4,6 etc)? |
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"Al Golpe" (1,2 - 4,,5 - 7,8 - 10,11)? |
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Marking the accented beats (3,6,8,10,12 or 7,8)? |
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A combination of the above |
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Total Votes : 66
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(last vote on : Nov. 6 2019 16:01:41)
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Ricardo
Posts: 14833
Joined: Dec. 14 2004
From: Washington DC
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RE: Bulerías basic timekeeping. (in reply to sonikete)
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I have seen some older guitarists, biting their teeth in rhythm. Many players have a head nod with certain accents. When working out something new, I use my foot if the metronome is not available or compas loop, or patient palmera. It is helpful for sure. I could play just as evenly without moving or tapping. Even the silence I could keep, but I am "hearing" the rhythm in my head, not just the beat, but all that is the groove going on. But doing the foot or moving in your chair, etc, is part of the feeling, and you do it because it feels good to do it. But yeah, it also transmits to the outside alot of how you are feeling the music. It gives the relationship. Even in a TRUE solo, it transmits something to the audience. I give students a chance to demonstrate playing in rhythm to metronome or palmas, without having to tap the foot. There are many who have no problem keeping the beat inside. But they are the minority. For the majority of folks, the foot really helps learn how to keep a beat. For folks having a real problem tapping the foot and playing, they tend to not beable to play to a click either. Oh, and in regards to "iron clad" and putting a metronome against flamenco players, you would be surprised how precise they are if you find the exact tempo. Ricardo
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Date Dec. 13 2006 10:11:16
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zata
Posts: 659
Joined: Jul. 17 2003
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RE: Bulerías basic timekeeping. (in reply to Ricardo)
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quote:
Oh, and in regards to "iron clad" and putting a metronome against flamenco players, you would be surprised how precise they are if you find the exact tempo. This is not true, and there are no surprises because I've spent some time investigating this. The metronome will only work with newer recordings made with a claqueta in order to facilitate editing. Records used to be recorded direct, as is, like a live performance, but now imperfections are removed or retouched, instruments added after the fact...none of this can be done without a claqueta. And it's not a question of "precision", in fact all a claqueta does is make flamenco sound as stale as a disco mix. Take an older recording of someone we might all consider to have a driving, unrelenting rhythm, such as Marote in his recording with Bernarda and Fernanda. It sounds as solid as a brick wall, anyone can dance, do palmas, play along with, or sing to it with no problem, yet there is no way to set a metronome to it. This is the reason why when you get a guitarist in one room and a singer in another, able to hear each other but unable to see one another, even though both begin in perfect unison, it takes only a couple of beats before each is going down his own rhythmic path. I was at a crowded fiesta in Granada a few months ago...the guitarist was right next to me but there was a slim decorative partition between us and too many people to be able to glimpse one another. I started singing, and in seconds there was no unison...we tried again...again it didn't work. Finally we realized we could see each other's feet, and only by observing each other's beat as marked by the feet were we able to get it together...very edifying experience.
_____________________________
Estela Zatania www.deflamenco.com www.expoflamenco.com
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Date Dec. 13 2006 10:49:05
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zata
Posts: 659
Joined: Jul. 17 2003
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RE: Bulerías basic timekeeping. (in reply to zata)
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An interesting experiment was carried out by Farruco (the kid) in one of their older shows. "Bulerías galácticas" he called it. Four or five singers in a circle, Farruco in the middle dancing bulerías, no guitar. What's so strange about that? Simply, that not only were there no palmas, but clearly Farruco had ordained no foot-stomping, no finger-snapping, no rhythmic swaying, no head-bobbing or silent thigh-tapping....indeed, not one visual reference to the rhythm other than Farruco's dancing. It was clearly extremely difficult - now and again one of the singers would do silent thigh-taps and Farruco would stand dead still until he stopped. It was astonishing, the dance and cante had all the weightiness and importance of a slow siguiriya, but observers who knew bulerías could feel the inner dynamic - it was a brave and powerful experiment which has not been copied by anyone or repeated by Farruco as far as I know.
_____________________________
Estela Zatania www.deflamenco.com www.expoflamenco.com
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Date Dec. 13 2006 11:00:38
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Ricardo
Posts: 14833
Joined: Dec. 14 2004
From: Washington DC
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RE: Bulerías basic timekeeping. (in reply to zata)
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quote:
And it's not a question of "precision", in fact all a claqueta does is make flamenco sound as stale as a disco mix. Well, that's your opinion. I disagree totally. Perhaps multitracking can have that problem, but the click itself is not the problem. quote:
no problem, yet there is no way to set a metronome to it. Well, they are not from Jerez. OK, I am only teasing with that one. quote:
Finally we realized we could see each other's feet, and only by observing each other's beat as marked by the feet were we able to get it together...very edifying experience. Glad it all came together finally. quote:
not one visual reference to the rhythm other than Farruco's dancing. Well the rhythm is IN the cante, if you understand how, and most guitarist accompanyists of baile learn to watch the body as well as the feet for rhythmic cues. Just a couple of words from the first line of cante, and the tempo is right there for everyone who knows it. Still it is a cool idea I think, that the beat is not heard but "felt".
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Date Dec. 13 2006 11:15:44
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zata
Posts: 659
Joined: Jul. 17 2003
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RE: Bulerías basic timekeeping. (in reply to Ricardo)
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Pick your favorite old recording you consider to have unshakeable rhythm and you'll see what I mean. The most solid rhythm, the kind that allows dozens of people to do palmas, jump in and out dancing or singing, is in a constant, though subtle, state of flux. The so-called "nuevo flamenco", which is basically studio flamenco, grew up with the claqueta and percussion (percussionists who don't know cante dwell in their own world of "steady" rhythm and are oblivious to singers' needs, which is why Manolo Soler was so great on the cajón, he knew flamenco inside and out). Likewise, the singer no longer rules the roost since a profusion of new harmonies from the guitar "lock" the singer into set interpretations. It sounds fine, perhaps even great, and only the individuals actually doing the singing (or dancing) can feel how their wings have been clipped. Make no mistake, studio flamenco is a deal with the devil: you make magnificent music enjoyed the world over, but sacrifice spontaneity - a boon for guitarists and a bane for singers.
_____________________________
Estela Zatania www.deflamenco.com www.expoflamenco.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 13 2006 11:35:28
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