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the weirdness of toques flamencos
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Erik van Goch
Posts: 1787
Joined: Jul. 17 2012
From: Netherlands
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 RE: the weirdness of toques flamencos (in reply to Miguel de Maria)
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quote:
ORIGINAL: Miguel de Maria
Paco Pena's book is de rigeur for anyone without the priviledge of a flamenco teacher, but man it has some problems. There is no bulerias, no tangos, and no solea por bulerias. These toques are probably #1, 3, and 4 for what you might actually play if you did some accompanying. It is just too, too bad that he didn't see fit to include these. Imagine how great they would be and how much non-Spaniards would have benefited over the years! Get rid of the Garrotin and Columbianas and put something you can use! :)
How many non Spaniards do you think had the level, the wish or the opportunity to accompany at the time this book was written? Close to zero. This book was written to give that hand full of beginning solo flamenco players (already a very high ambition outside spain) some exiting material they could work on, nothing more nothing less. It's indeed a pity he didn't enclose a bulerias or a tangos but i guess they were considered to be to complex for beginners. As a matter of fact, Paco's ambition to give them something exiting and good already raised the level to higher levels then intended. At the time solea por bulerias was not as popular as at precent day (you'll struggle to find a solo recording of it in that period of time...paco had only 1, so had Paco de Lucia). When i entered the Dutch dance scene in the early 90ties i was more likely to encounter a Garrotin then what i like to call Solea por Bulerias. The Colombianas is a marvelous piece that can uplift any solo-performance for non-knowledgeable audience (for years the over majority of the listeners) I wish i had 20 pieces like that. Try to see it in it's time (as a matter of fact it's probably still 1 of the best books available).
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Date Aug. 13 2013 22:51:57
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Ricardo
Posts: 13949
Joined: Dec. 14 2004
From: Washington DC
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RE: the weirdness of toques flamencos (in reply to Erik van Goch)
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quote:
[At the time solea por bulerias was not as popular as at precent day (you'll struggle to find a solo recording of it in that period of time...paco had only 1, so had Paco de Lucia)
Traditionally, the form was referred to always as "buleria por solea", or just "solea por medio" or just "solea". We talk much about it in the past. Popularity had nada to do with it I say rather, the book already contained Solea. I hazard a guess that solea played for singing more often por medio than arriba. Guitar solos as old as montoya, who had a fantastic version by the way. Sabicas was the first I know of to call it "solea por buleria", probably cuz he played it as solea but actually plays bulerias at the end. Anyway, a subtle distinction that nowadays people think it is it's own form. So now you can play solea por buleria as a form in any key. PDL had recorded Celosa (1969), and Solera (1973) as solo pieces that are both solea por medio or buleria por solea. The end of "Plaza alta" is por arriba but also considered "buleria por solea". But to say the form was not popular at time of book publishing is not really true, it's just that most players made more full compositions out of por arriba, and same is true today.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Aug. 14 2013 4:42:28
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