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Posts: 528
Joined: Nov. 10 2008
From: Helsinki, Finland
accompanying tientos
this was from the same evening of aficionados. In autumn I was accompanying dance classes and she wanted to perform the choreography they learned. This is also kind of nice, I like to play it even though I have played all the parts thousand times in the class :)
It was good in many ways to be in the dance class, and one reason was that the teacher wasnt satisfyed with any falsetas I had, so I was forced to compose/modify my own and now I have two original tientos falsetas :). The tangos falseta is trad.material.
I would like to hear some comments about my accompanying (not too tough though), because Im kind of stuck with it. These are my basic chords, and strumming. I do the strumming and arpeggiating the chords little different every time depending whats happening, but basicly this is it.
With the siguriya I know that Im in the very beginning of it and I can practice some Moraito encuentro and Pepe Habichuela/Estrella Morente material, but with tientos and tangos I have no ideas how to make them different or richer.
So comments on the playing would be very wellcome.
come on guys, this is not so boring subject. Heres a tientos dance and singing Im accompanying and Im asking your opinion how does it sound and how could I make it better. Im sure others than me would also appreciate and benefit from your participation. Florian, Ricardo and others who accompany, where are you guys?
and how about the opening falseta and the one in escobilla, how do you like them?
Good job, the palmeros and dancer made it worse, I think their groove is very stiff and unflowing. I like tientos to be heavier sounding and laid back on the beat. I think even with just basic chords plus rasgeo and arpeggio variation used well there is enough to make it interesting. I like the opening falseta except maybe after it's lighter 3/4 feeling it needs to change and set up the tientos compás a bit stronger. Don't worry about no comments on the thread Aleksi, it's not unusual for a flamenco orientated post to get buried under the flame/controversial threads. Thanks for uploading.
Thanks orsonw, I appreciare your comments very much.
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I think even with just basic chords plus rasgeo and arpeggio variation used well there is enough to make it interesting.
I've watched Moraitos enquentro and listened some Agujetas tientos and this and tried to get the feeling from them. I think they only use the basic chords and strong rajeos+arpeggios.
Im just wondering is there some other way how to do tientos.
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Don't worry about no comments on the thread Aleksi, it's not unusual for a flamenco orientated post to get buried under the flame/controversial threads.
yeah, that seems to be the norm , but some of the bs makes the foro also quite entertaining.
thanks Mezzo! The tientos is easier for me, I've done it more and have more material for it. The siguriya was a new step for all of us. I was trying some licks and more cultivated playing with it, but I wasnt able to get them under my fingers well enough so I started taking stuff away from my playin until I felt I could give enough for the singer. Funny isnt it, I was playing less, but I felt I could give more that way. My main goal was to make the singer comfortable. But little by little this is where Im aiming at
Your playing is just fine considering the level of the other performers you are working with (which is low IMO). Only minor thing is when you do that kind of escobilla, it is hard to hear your arpegio with the footwork. Maybe more hard driving compas will match better. Also the way you move chords in that section Dm-C-Bb-A sometimes the feel is better like this Bb-Bb-A-A.....so like double time. It makes more sense when you finally end and makes a very different phrase from Tangos.
Aleksi, i cant add much, but want to say at this level it is important not to depart too much from traditional stuff. What i mean is when the dancers says she doesnt like your falsetas, then this worries me a bit because they sometimes invent their "own palos" to make it special. Not saying this is the case here but it is good to have that in mind generally.
Ricardo; you are right that maybe the arpeggio falseta was not the best choice for the escobilla but I chose this kind of falseta, because I thought dance class is a good place for practising because the infinite amount of repetition and originally this was not supposed to be performed. I really appreciate your advice so definately Ill see how I could move the melody with BbBbAA chords.
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I cant hear the guitar very well in some spots but I think your playing is ok, I'd like to see what you could do with a higher level cuadro.
thanks elroby. Ill put the link here on foro when it will happen :) Btw. cool dancing on your homepage. I would also like to learn :)
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but want to say at this level it is important not to depart too much from traditional stuff. What i mean is when the dancers says she doesnt like your falsetas, then this worries me a bit because they sometimes invent their "own palos" to make it special.
I see what you mean. I'm also not a biggest fan of too crazy modern art does flamenco. I like modern and traditional, but my material is mostly trad.
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Ha, very true. I wonder why she had you compose a long falsetta when the dancer didn't do much of anything during your playing
oh, dont be too hard to my dancer Im not sorry at all, on the contrary Im happy I had to / and was able to do them. I gues she was just bored of the basic recycled material I had to offer or she wanted to help me to grow as a guitarist :), dunno. Plus I got paid for the classes so no problem. The dancers in the class were at different levels and I gues it must be difficult to deside what material is best for them.
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