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Merle, I don't know much about counting, but I do know that there's supposed to be a 3 somewhere between the 2 and the 4 . Seriously, I'm taking lessons in Jerez and, believe it or not, they do not count. The most I've ever heard my teacher count is 1,2 maybe to mark a pause or a golpe and a pause. Anyway, this has nothing to do with your question, does it?
I know very little about music, but I'm learning and I've seen Tientos transcribed in 4/4 and 2/4 time. I think 2/4 is probably more technically accurate because the accented beats are typically 1 and 3 (if it's written in 4/4 time). I'll try to post a little Tientos that I learned in Jerez and you can compare it to what you're learning. I'll have to see if I can play for a mintue and a half without making 12 mistakes. I've also attempted to transcribe the falsetas in Guitar Pro. Iif you're interested, I'll trade you for that Malgueña Phil
Phil, I would really like to hear, how you hear it, tientos from where you live. Tientos is such a, well, differerent, uh palo, and it is so BEAUTIFUL to my ears. It has that lonely feeling, and to me at least, it has that, "maybe, just maybe, every thing will be OK", feeling!! ;>) (BUT THEN AGAIN, MAYBE NOT, FEELING)! :>0
I dont know about phil but I enjoyed your "private" "nasty" tientos. I agree that having a three in there is a good thing but for you ill let it slide. JoshH
Interesting point about ending Tientos with Tangos. I learned that Tientos was one tempo all the way through - and slow. Forgive me but I learned that about 45 years ago. My teacher was from Cadiz.
Last night I played a Tientos and Katy loved it! She likes the sad feeling she said.
I have heard some Americans play Tientos at 170 bpm and then the ending at 270 bpm. For me I like about 90 bpm.
You can call any piece of music whatever you like. If it sells then you are right. Such a blast.
One reason for ending any piece fast is to capture the audience. If the audience knows little or nothing about your music they will remember the fast flury at the end. Wow! Such a player! Turn on the colored lights with mirrors, smoke and fire. Set off the fireworks.
I think my approach to this subject is very tame but I do have fun!
Tom, Certainly the fashion now is to end Tientos with Tangos, even for the Cante, even if it's just for a few bars. (Just going by the stuff I hear) Isn't it just to bring up the mood a bit at the end to prevent the audience sliding into depression? Come to think of it, I can't really remember hearing a straight Tientos all the way through to the finish. Zata would probably be the person who could shed more light on this and when it started.
Tom, I played this tientos at the tempo that Juan Martin does in his El Arte flamenco book, page 108.
Phil, if you have this book, I'm just going by the way Martin tells me how to count it.
1 and 2 and a 4
I mean, it has a 3 in there, it has to, but on page 107 it explains why the 3 is left out of the traditional way of counting tientos. I mean, I'm just going by what I'm reading and hearing, remember I'm a beginner here in Utah, and I have no one else to correct me!! ;>)
Merle
P.S. Tom, I have a new computer and lost the url to your website. Please post it here for all of us.
Tom, First, how did you get the subject line to read (in reply to Phil)? Did you type it in or was it automatic? I see nothing on my screen that allows me to reply to a specific poster. I'm using Netscape because IE just stop working properly and I couldn't fix it even with downloads from MS, could that be the problem?
Regarding Tientos: I agree that it should be played slowly and with strong accentuations. I started cante accompaniment class last week, which is a group class, and my teacher is always telling people to SLOW DOWN on Tientos, Soleas, and Siguiriyas. He even has to slow people down on Tangos! So it's not a problem exclusive to American guitarists.
Like Ron said, nowadays Tientos almost always finishes with Tangos and I'm talking about the cante, not solo guitar or cante with dance. In fact you rarley see dancers at the peñas around here, which is kind of a shock to tourists who associate Flamenco so strongly with the dance. Usually the only dancing you see is an impromtu dance por Bulerias by the singer or the palmeros. It seems that with the professional dancers today EVERYTHING ends up being a Bulerias even Siguiriyas! Hell, they managed to contrive a dance por Martinetes so I guess anything goes today. Sorry, didn't mean to go on a rant
Phil in the "flat style" the PostReply will reply to the post that you originally clisked on to get there. Not great, that's why I use the "tree style" and set it as my default in "My Profile"
Merle, Have just downloaded you piece. Your a natural! Man! The first few bars is too stiff and is not really "Tientos" to my ear. (Add a bit of thumb F-G-A like in the the later parts) But after that you're in the groove! Forget about counting and 3's etc....you've got it!
Tangos and tientos are very closely related. Tangos is from Cadiz. Tientos was invented by Enrique el Mellizo, by slowing down tangos. The modern way to play it is with some syncopation: this was not the case originally.
Please note that all my references are to cante: I do not regard solo guitar as flamenco, though I realise it may be the only option, depending on where you live
Could you expand on that? Do you mean you do not consider it to be a complete representation of flamenco as it lacks some vital ingredients like cante?
I understand what everyone is saying about the tempo of tientos. As a matter of fact, I normally play tientos much slower with more emotion, feeling, ect.
But, during this month I'm recording a practice CD, so I'm listening to the material before I record it, and this is about the tempo tha Juan Martin plays it on the El Arte book.
Also, listen to his tientos in his new book, Solos Flamencos, and the tempo is not really slow! I don't know!!
I'll re-record this tientos the way I normally hear it, but, again, I'm just setting the metronome to about how Juan Martin does.
I guess that is why flamenco is flamenco! There are no real rules, is there?
Sean, I know where your coming from about solo flamenco guitar...something is missing with just guitar, but, come here to Utah and find me a dancer or singer! ;>)
I don't intend to make a living or perform flamenco solo guitar, I just do it for the fun and challenge of the music because I love it!
Should I just quit? Maybe, start playing blues, or country music, or, learn opera! Yea, that's it! Opera!!
I don't have much opportunity to accompany and if I do it would be a dance class and that will have to wait until I have learnt a popular dance palos, but I do prefer the sound of the solo guitar and it has taken a long time for me to be comfortable and enjoy cante. Now I love it. Carmen Linares and Moron. Both more lyrical and melodic to our tastes I guess?
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. Seriously, I'm taking lessons in Jerez and, believe it or not, they do not count. The most I've ever heard my teacher count is 1,2 maybe to mark a pause or a golpe and a pause. Anyway, this has nothing to do with your question, does it? 
I've also attempted to transcribe the falsetas in Guitar Pro. Iif you're interested, I'll trade you for that Malgueña 
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