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this is awesome. I've seen these on youtube before finding this forum. I think the first falseta of this video won't be too difficult for me. thank you loads ricardo
Nice! I was looking forward to this years tutorial. The Compadres falseta Is really cool. Never would have figured out what was going on with the Compás if I had tried it on my own.
Nice! I was looking forward to this years tutorial. The Compadres falseta Is really cool. Never would have figured out what was going on with the Compás if I had tried it on my own.
I Realized after watching it I kept saying the second falseta ends on count 8. Both the second falseta and the tag pulgar falseta end on 7 I realized, with a golpe on 8....so I feel the resolution the same way it’s just that like other things happening with the modern compas, the intended beat is lead into early. I should always take the time to count the stuff out!
So I know this was quite a while ago, but at 40:40 I talk about the section of the falseta that uses an interesting progression. F-Eb-Db-C-Bb....and questioned if it was Manolo’s idea:
quote:
ORIGINAL: Ricardo
Here is the same progression Manolo used on Tauromagia at 4:36:
But shame on me for not recognizing it from McLaughlin’s composition here at 5:36:
Honestly the chords are not simple triads like Paco was using. They are Fmaj7-F7-Abmaj9/C-Db-Gbmj9/Bb-C-G/B....The Ab chord voicing on guitar is spelled C-Ab-Bb-Eb-G...and the Gb chord is Bb-Gb-Ab-Db-F....so my guess is Paco stole this by ear and heard the upper structure of those two chords as triads (F-Eb-Db-C in sequence ). I made the same mistake myself long ago learning this tune where the piano is prominent. Then I saw this video so I saw the guitar voicings are typical Mclaughlin voicings and it slipped my mind that these chords match what Paco and Manolo were doing. Paco just changed the G/B to Bb and the melody is on D so he recognized the Bb chord ending as a way to function in Buleria.
Posts: 15506
Joined: Dec. 14 2004
From: Washington DC
RE: Paco falseta tutorial 4 (in reply to devilhand)
quote:
ORIGINAL: devilhand
quote:
So modern flamenco IS jazz I guess?
I would say flamenco jazz is the precursor of modern flamenco.
I get what you mean, from the other topic mainly, but honestly you have to make sure to use specifics because you have some very modern approaches such as by Manolo Sanlucar and others, that avoid the “Jazz” influences altogether yet cannot not be considered “old school, traditionional or antiguo” flamenco. It so happens this ONE specific chord move comes specifically from Mclaughlin, and the piece itself a bit removed from “jazz” proper. So Paco pulled it or learned it, and showed it to Manolo who also found an application for it. But few aficionados classify Manolo as “jazzy” flamenco.
RE: Paco falseta tutorial 4 (in reply to devilhand)
quote:
I would say flamenco jazz is the precursor of modern flamenco.
again, a gross over-simplification. As Ricardo points out there are very modern approaches that owe nothing to Jazz. Also there are many other influences having different effects at different times. Ramon Montoya not only recorded with saxophone but was close friends with Miguel Llobet, and was credited with developing arpegio and tremolo techniques as a result. So you can look at jazz influences AND classical influences. If you watch the Rito episode with Pepe Martinez he plays a Brazilian piece, and Sabicas recorded numerous Classical and Latin American pieces. Spain was relatively closed under Franco, and in the seventies all kinds of outside influences trickling in became a flood. Musicians who learned by ear soaking music up like sponges would need to make a concerted effort NOT to absorb whatever influences they are exposed to, jazz, classical, pop, rock, whatever.
So I came across this video this morning. I had not noticed this one before honestly. The same falseta I am teaching here (from Compadres duet), Paco seems to have transposed to C# and played with the Sextet a long time ago. Starting at 12:43:
Cool! That’s a good quality video. God I worked on this Falseta for so long but never got it up to tempo cleanly. I should revisit. It’s such an interesting one melodically
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