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Rancapino's son and Miguel Salado do a nice slow buleria and you can see both of Miguel's hands most of the time. A great one for learning (and enjoying!)
RE: A good video for learning buleri... (in reply to Dudnote)
todo lo que me pidas,yo te lo darè, si me pides olvidarte te lo negarè.
Hay¡ tu le estas pidiendo a dios, hay¡ tu le estas pidiendo a dios que mi madre se muriera,ya mi madre se muriò ya no hay quien te quiera,que menos te voy a querer yo.
que quieres de mì,que quieres de mì si hasta el agua en que yo me mojo te la tengo que pedir.
Duèrmete Juanito mìo,de mis entrañas que eres lo mas bonito que vi en España. Duèrmete gitanito que vienen soles que te voy a hacer una cunita de caracoles.
llegare eeeee-aaaaaa mi niño si tù duermes dormido se queda.
Hay¡vàlgame dios,hay¡vàlgame dios que alegrìa tienes que fascinaciòn ley,lo lo ley lo lay,lo lo ley lo lay,
RE: A good video for learning buleri... (in reply to ramon roman)
Ra Ra Ra! Great question - you actually got me studying cante accomp instead of noodling about aimlessly like I usually do.
Here's a jpg copy from a pdf scan of some scrappy paper notes. The pdf is slightly clearer, send me a PM if you'd like that too.
You'll see, I don't know what to call chords half the time. I started calling one Gm7+g# and then decided it was really better off as B♭7. Then there is the one used a lot when singers go high, I always used to think of it as Dm even though there is a #5, but it's Dm in the sense that it often starts a cadence to A, but when you look at it it is only B♭ played on just the top 4 string, can't say which is "right", but I call it B♭(2) here.
When different voicings of the same chord are used I use (1) (2) and (3) to point to the "chord diagrams" at the top. If I just write C7 it will be C7(1). Actually, that chord is really C7+2 or C7+d, but no one writes that every time do they?
The move when he goes C7(2) -> F7 (perhaps it has a fancy name) I remember Ricardo has a video somewhere where he discusses that and how Manuel Morao would do the chords in the opposite order followed by a half compas thing.
For the outro you have a cycle of 4ths which is very common as an outro, except the first time he plays it he does a chromatic variation which was a new one for me. The second time he plays it it's more standard.
I don't know what you call it when a chord or part of a chord is held and one note is placed on-off-on-off-on-off for effect. It must have a name, it's the epitome of classy accomp playing. I tried to write out some of the on-offs as +c -c +c -c, but gave up and started using ±c as a shorthand instead.
Hope that helps. It certainly helped me!!
My aim in life now is to be able to copy Miguel Salado's facial expressions when I play guitar, or write and email, or trip over the cat, or take a dump, or.... or... or... He is the Guitar Buddha!
Talking of which, anyone know what happened to our GuitarBuddha?
RE: A good video for learning buleri... (in reply to ramon roman)
quote:
ORIGINAL: ramon roman can any one tell me the chords he is playing?? .... I love that sound
Just to be sure...
You do know the single most important chord in all of this is the diminished 7th chord right? That's why after "que vienen soles" he holds down A7 and goes ± b♭ on the 5th string. Or hold down A and ± b♭ on the 3rd string. The great thing with Dim7 chords is you slide them 3 frets and you've got the same chord. Slide-bang, slide-bang, slide-bang, slide-bang, rasguedo, finish on A at 10 -- you've just gone improvised a remate.
Posts: 15201
Joined: Dec. 14 2004
From: Washington DC
RE: A good video for learning buleri... (in reply to Dudnote)
quote:
ORIGINAL: Dudnote
Ra Ra Ra! Great question - you actually got me studying cante accomp instead of noodling about aimlessly like I usually do.
Here's a jpg copy from a pdf scan of some scrappy paper notes. The pdf is slightly clearer, send me a PM if you'd like that too.
You'll see, I don't know what to call chords half the time. I started calling one Gm7+g# and then decided it was really better off as B♭7. Then there is the one used a lot when singers go high, I always used to think of it as Dm even though there is a #5, but it's Dm in the sense that it often starts a cadence to A, but when you look at it it is only B♭ played on just the top 4 string, can't say which is "right", but I call it B♭(2) here.
When different voicings of the same chord are used I use (1) (2) and (3) to point to the "chord diagrams" at the top. If I just write C7 it will be C7(1). Actually, that chord is really C7+2 or C7+d, but no one writes that every time do they?
The move when he goes C7(2) -> F7 (perhaps it has a fancy name) I remember Ricardo has a video somewhere where he discusses that and how Manuel Morao would do the chords in the opposite order followed by a half compas thing.
For the outro you have a cycle of 4ths which is very common as an outro, except the first time he plays it he does a chromatic variation which was a new one for me. The second time he plays it it's more standard.
I don't know what you call it when a chord or part of a chord is held and one note is placed on-off-on-off-on-off for effect. It must have a name, it's the epitome of classy accomp playing. I tried to write out some of the on-offs as +c -c +c -c, but gave up and started using ±c as a shorthand instead.
Hope that helps. It certainly helped me!!
My aim in life now is to be able to copy Miguel Salado's facial expressions when I play guitar, or write and email, or trip over the cat, or take a dump, or.... or... or... He is the Guitar Buddha!
Talking of which, anyone know what happened to our GuitarBuddha?
Would do you some good to take a music theory class to clear up your terminology ... Sort of mixing up enharmonics, symbols/concepts of chord construction and numbers there. The video is good because it is slow. Guitarist I know from Gerardo's curso in sanlucar. The Letras are all pretty much Camaron/la Perla standards .... Not the most orthodox thing to learn first as new accompanist ... In case of new comers to this topic we already have a great cante accompaniment thread with more useful materials
RE: A good video for learning buleri... (in reply to Ricardo)
For a minute there Ricardo I thought you might tell me the jargon for that on off on off thing you hear all the time, or how you write that in short hand on a sheet when joting down chords as I did here.
Point taken about the theory classes - but if I take them here all I'll learn is the difference between Lewoz, Kaladja, Pagenbel, Toumblak, Grage, Roulé and Mindé. Any favorite books that you'd recommend which are understandable, straightforward and useful, without being superfluous, to a wannabe flamenco guitarist?
RE: A good video for learning buleri... (in reply to Dudnote)
quote:
but if I take them here all I'll learn is the difference between Lewoz, Kaladja, Pagenbel, Toumblak, Grage, Roulé and Mindé.
Forget all this because it is really easy. You only need to know the cante. Forget complicated chords and follow the singer; Miguel makes several mistakes but nobody minds. He is from Jerez and still does not understand bulerías de Cádiz. He had to accompany Perico Bancalero in the Peña de Juan Villar the other night in a fin de fiesta and he was lost. He will be very good with time, just like Higuero.
Posts: 15201
Joined: Dec. 14 2004
From: Washington DC
RE: A good video for learning buleri... (in reply to Morante)
quote:
ORIGINAL: Morante
quote:
but if I take them here all I'll learn is the difference between Lewoz, Kaladja, Pagenbel, Toumblak, Grage, Roulé and Mindé.
Forget all this because it is really easy. You only need to know the cante. Forget complicated chords and follow the singer; Miguel makes several mistakes but nobody minds. He is from Jerez and still does not understand bulerías de Cádiz. He had to accompany Perico Bancalero in the Peña de Juan Villar the other night in a fin de fiesta and he was lost. He will be very good with time, just like Higuero.
The singer and the interpretations he is copying are gitanos de Cadiz ... But those bulerias are not "bulerias de Cadiz"... Don't confuse poor folks
...and after all, those singers were always best accompanied by jerezanos anyway
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