RE: Looking for intermediate level Solea

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Erik van Goch

Posts: 1787
Joined: Jul. 17 2012
From: Netherlands

RE: Looking for intermediate level Solea (in reply to Cervantes)

Parts of Vicentes childhood soleares became part of my soleares during that period of time as well (we met in Rotterdam in 1983) and included 2 lines that drops chains of 6 notes while playing 4 notes a beat
(so same amount of notes, same time frame but different pulse..... 123456,123456 rather then 1234,1234,1234).

Personally i tended to go with the flow

123456/123456

bringing my foot down at every first note of the 6 note pulse (in the same way like in bulerias i feel/tap clusters of 2 or 3 beats depending on the pulse of the melody).
Paco Peña however insisted i kept on tapping the real beats (which on top of that line feels bit like a 3 over 2 pulse).

1234/5612/3456/

Here are the 2 lines played by Vicente in 1983 as i remember them:

Note that 2 chains of 6 notes equals 3 beats and that in the 1-th version he plays that pulse during the whole compas (up to beat 10) while in the second version he kinds of interups it during beat 4-6.

version 1:

--------------0--/5--3--1~-0--------------------------------------------
----------1-----------------------/3--1(~)0------------------------------
------2----------------------------------------2---------------------------
-------------------------0-------------------------------------------------
--/0-----------------------------------------------------------------------
---------------------------------------------------------------------------

..1...................2...................3.................

----------------/3--1--0~1~/0-------------------------------------------
-------------0----------0---------3--1~0---------------------------------
---------0--------------0--------------------------------------------------
-----0------------------2--------------------------------------------------
------------------------3--------------------------------------------------
-/3------------------------------------------------------------------------

..4.................5................6............

---------------------------------------------------------------------------
---------------------0---------/0-----------------------------------------
-----------0--/~2------2~-2-----2~1(or-0)----------------------------
--------3---------------1----------------------3-------------------------
----3-------------------2-------------------------------------------------
/1----------------------1-------------------------------------------------

.7..................8...................9.....................

-0~0--------------0--------------0----------------------------------------
-------0---------------------/0---------------------------------------------
----------1---------------1-------------------------------------------------
---------------/2----~3----------------------------------------------------
-----------------------------------------------------------------------------
/0--------------------------------------------------------------------------

..10..............11................12

version 2:

--------------0--/5--3--1~-0--------------------------------------------
----------1-----------------------/3--1(~)0------------------------------
------2----------------------------------------2--------------------------
-------------------------0-------------------------------------------------
--/0-----------------------------------------------------------------------
---------------------------------------------------------------------------

..1...................2...................3.................

---------------------------------------------------------------------------
--0~1~0-----------0-------------0~3--1-------------------------------
-----------2--/~0------------/0-----------------------------------------
---------------------------0----------------------------------------------
-----------------------2--------------------------------------------------
-/3-----------------------------------------------------------------------

..4.................5.................6........

--------------------------------------------------------------------------
------------------0---------/0-------------------------------------------
--2~0----0/~2------2~2-----2~1(or 0)-------------------------------
--3-----3-------------1--------------------2----------------------------
--3-------------------2--------------------------------------------------
-/1-------------------1--------------------------------------------------

..7...............8................9.............

-0~0--------------0--------------0------------------------------------------
-------0---------------------/0-----------------------------------------------
----------1---------------1---------------------------------------------------
---------------/2----~3-------------------------------------------------------
-------------------------------------------------------------------------------
/0----------------------------------------------------------------------------

..10..............11................12

I adapted these kind of lines quite a lot in my own compositions like in the intro i shared previously.

---------------------------------------------------------------------------------------
-------------------2--3-~3~/2-------------------------------------------------------
-----------2-/~3-----2----------3~2-------------------------------------------------
--------2-------------2-----------------5-/4-------------------------------------------
-----0-------------------------------------/5---/---/----------------------------------
-/3-------------------3--------------------------------------------------------------

..7................8.................9..............10....11...12

An equally odd way of dropping a theme into the compas of soleares is this tremolo i composed a couple of years ago were each bass note equals half a beat.

(the left hand is all chord based)

-----------------------------------3-----4-----3---------------------
---5-----3-----1-----5-----3-----5-----6-----5-----0-----2--------
---5-----4-----2-----5-----4-----4-----4-----4-----1-----2--------
---3-----3-----1-----3-----3-----5-----6-----5-----0-----2--------
----------------3------------------3----4------4-----2-----0--------
---5-----3-----1-----5-----3------------------------0---------------

there we go:

----------------------------------------------------------------------------
-----5555------6666------5555------3333------5555-------6666------
------------------------/5----------------------------------/4-------------
-------------/3--------------------------------/3--------------------------
----------------------------------------------------------------------------
--/5-------------------------------/3--------------------------------------

...1............and.........2............and...........3.............and

--------------------------------------------------------------------------------
---1~3~1---------------------------------------------------------------1~3-
------------4------2222------2222-------2222------2222-------2~4-------
---------------------------/1---------------------------------/1--------------
----------------/3---------------------------------/3-------------------------
--/1------------------------------------/1-----------------------------------

..4................and..........5.............and.........6.............and

----------------------------------------------------------------------------
-----5555------6666------5555------3333------5555-------6666------
------------------------/5----------------------------------/4-------------
-------------/3--------------------------------/3--------------------------
----------------------------------------------------------------------------
--/5-------------------------------/3--------------------------------------

-/3~5~3---------------------------------------------------------------------
-----------6------5555------5555------5555------5555-----5555---------
--------------------------/4--------------------------------/4---------------
---------------/5--------------------------------/5--------------------------
-/3-----------------------------------/3-------------------------------------
------------------------------------------------------------------------------

-----------------------------4448------6666-------6666-------4444--------
-----6666------6668---------------------------------------------------------
-------------------------/4----------------------------------/4----------------
-------------/6----------------------------------/6----------------------------
--/4---------------------------------/4----------------------------------------
--------------------------------------------------------------------------------

------3333-------3333-----------------------------------------------------------
------------------------------6666------5555------5555-------5555------------
--------------------------/4---------------------------------/4-------------------
--------------/5----------------------------------/5------------------------------
--/3----------------------------------/3------------------------------------------
-----------------------------------------------------------------------------------

-----------------------------------------2222-------0000------------------------
-----0000-------2222-----3333--------------------------------3333------------
-------------------------------------------------------------/1--------------------
-------------------------/0----------------------/0-------------------------------
-------------/2--------------------------------------------------------------------
-/0----------------------------------/0-------------------------------------------

---------------------------------------------------------------------------------
-----3333-------3333-----x-3~2----/2-------/----------------------------------
-------------------------/2-------4---/2-----------------------------------------
-------------/2-----------------------/2-----------------------------------------
-/0------------------------------------------------------------------------------
---------------------------------------/3-------/---------------------------------

..10...........and..........11............and.......12.........

I'm still shaving on the 10-11-12 part.

Still my biggest challenge was how to continue from there (A major) back to normal soleares tracks. Everything i composed so far generally came to me instantly without thinking (once the spark is there) but this one i really had to brain out which came out pretty well although i still can not play that bridge well enough in the sense of continuing the rhythm spot on.

BEFORE WATCHING MY SOLUTION I CHALLENGE YOU TO FIND YOUR OWN BRIDGE BRINGING YOU BACK FROM THAT FINAL A CHORD TO NORMAL SOLEARES TRACKS.
ALSO I CHALLENGE YOU TO DISCOVER WHICH PACO DE LUCIA PIECE/FALSETA (UNINTENTIONALLY) INSPIRED THIS TREMOLO.

>
>
>
>

Now this was what i eventually came up with to return to soleares (looks quite a lot like that 2-th Vicente variation now i think off it :-).

---------------------------------------------------------------------------------
-----3333-------3333-----x-3~2----/2-----------------------------------------
-------------------------/2--------4---2-------/x---2---2--2-------------------
-------------/2------------------------2-----------------------------------------
-/0------------------------------------------------------------------------------
---------------------------------------/3-------/---------------------------------

..10...........and.........11.............and........12........and........

----------------------0------------------------------------------------------------------
-/3---------/~3~3-----3---/1~1--~3--1--/0~1~0-----------0-----------0~3-1----
--2----------~2--------------2-----------------------2/~0-------------/0------------
--0----------~0--------------1---------------------------------------0-----------------
-------------------------------------------------------------------2--------------------
-/1----------~1-------------/1-------------/0------------------------------------------

..1...............2.................3..................4...............5..................6

--------------------------------0------------0-----------------------------------------
---------------------------------------------0-----------------------------------------
-/2~0---------------------2--/1~4~1-----2-------------------------------------------
--------3--------------3----------------3---3------------------------------------------
--------------------0------------------------2-----------------------------------------
-----------0-/~3---------------------------/0-----------------------------------------

..7.................8.................9...............10

or the more daring

--------------------------------------0------------------0----------------
---------------------------------------------------------0-----------------
-/2~0---------------------------2--/1~4~1-----------2------------------
--------3~3~/~3------------3---------------3-0~3---3------------------
----------------------------0----------------------------2------------------
---------------------0~3-------------------------------/0------------------

..7..................8........................9......................10

But like i said, i'm still struggling to play that tremolo in soleares (embedding it in a natural way not lossing the rhyhm when entering and leaving) so it's still pretty much theory and work in progress. On top it only works when you play a very slow soleares.

_____________________________

The smaller the object of your focus the bigger the result.

REPORT THIS POST AS INAPPROPRIATE | Date Jul. 14 2017 20:16:02

estebanana

Posts: 9351
Joined: Oct. 16 2009

RE: Looking for intermediate level Solea (in reply to Erik van Goch)

One of the cheapest tricks in the Solea book is to play a falesta, and work it so you do the remate on the G chord, it sounds unresolved, then play the same falseta over again and change it slightly, then remate on the E chord. Instant double length falseta.

It works with many falsetas, especially the old Sabicas, Ricardo falsetas in triplets played with your thumb.

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REPORT THIS POST AS INAPPROPRIATE | Date Jul. 15 2017 0:17:42

Ricardo

Posts: 14806
Joined: Dec. 14 2004
From: Washington DC

RE: Looking for intermediate level Solea (in reply to Cervantes)

I sell the tab for these falsetas at my website, only $8!

_____________________________

CD's and transcriptions available here:
www.ricardomarlow.com

REPORT THIS POST AS INAPPROPRIATE | Date Jul. 15 2017 16:19:24

estebanana

Posts: 9351
Joined: Oct. 16 2009

RE: Looking for intermediate level Solea (in reply to Erik van Goch)

Ricardo,

Your website works very well. I just bought the PDF, I have 8 bucks at least. Looking forward to working on it.

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https://www.stephenfaulkguitars.com

REPORT THIS POST AS INAPPROPRIATE | Date Jul. 17 2017 14:34:30

estebanana

Posts: 9351
Joined: Oct. 16 2009

RE: Looking for intermediate level Solea (in reply to Erik van Goch)

I just looked over the PDF for Plaza de Cabildo, lots of very approachable music, some harder stuff, but all in a format that is formal and professional.
A bargain at twice the price!

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https://www.stephenfaulkguitars.com

REPORT THIS POST AS INAPPROPRIATE | Date Jul. 17 2017 15:04:00

Ricardo

Posts: 14806
Joined: Dec. 14 2004
From: Washington DC

RE: Looking for intermediate level Solea (in reply to estebanana)

Thanks man!

_____________________________

CD's and transcriptions available here:
www.ricardomarlow.com

REPORT THIS POST AS INAPPROPRIATE | Date Jul. 17 2017 16:34:19

estebanana

Posts: 9351
Joined: Oct. 16 2009

RE: Looking for intermediate level Solea (in reply to Ricardo)

Feels like a lot of pepe habichuela rubbed off on you in the opening section of your solea. What would you say about that? The opening moves are not super hard but sit well in that part of the guitar. I think moving into "intermediate" level work means exploring that area of sonority.

I think the long end sequence is something I would like to get. In a more older style you would not really work an end section like that, but I think with the right kind of transition it would be great. I need some more contemporary aire sections in case I ever decide to try to work with dancers.

And I'm looking at the sections in the middle. Good material and the easy download of PDF and mp3 of you playing makes this easy to acquire.

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REPORT THIS POST AS INAPPROPRIATE | Date Jul. 18 2017 5:52:05