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Posts: 15725
Joined: Dec. 14 2004
From: Washington DC
RE: The moment when a flamenco guita... (in reply to kitarist)
quote:
Hmm, rereading it all now the author could also have meant the entire Andalucian cante jondo, not just the religious subset - i.e. an even more general claim about any Andalucian song of 'tremulous lament'.
Yes exactly, cante jondo as I first said the excerpt read as a reference to. No need to look for Roman sources about something that is simply wrong to begin with.
RE: The moment when a flamenco guita... (in reply to Brendan)
quote:
You’re both working on the assumption that Crow’s prose is the expression of precise thought, which seems to me unwarranted.
Yes, the thought had occurred to me Going back to the D.Mus. thesis, it seems an awfully small nail to hang a hat of a claim on.
Nevertheless, the comment about Roman writers and songs of tremulous lament must have been based on something as it is too pointed. Being in general interested in language and the broken-telephone process of humans interpreting and retransmitting what they picked up from one another, I wanted to find out what was actually written (the primary source).
RE: The moment when a flamenco guita... (in reply to Richard Jernigan)
quote:
ORIGINAL: Richard Jernigan
Back to "Asturias." I have always wondered which came first, the piano piece or the flamenco falseta? I have seen "1890s" given as the date of composition for "Asturias," nothing more specific. Flamenco guitar existed in the 1890s, but I don't have any recordings from that far back.
The falseta is characteristically played while accompanying granaínas. History books I have read put the origin of granaínas in the 20th century.
RNJ
Bernabe de Moron plays Granaina. At 1:42-2:06 one can hear falseta Asturias.
RE: The moment when a flamenco guita... (in reply to Ricardo)
One of the things classical players used to screw up quite a lot was the rhythmic timing of rasqueado although at precent day there are some excellent players who know what they are doing. But back in the 80ties when my father shifted his main activity from teaching classical guitar to teaching flamencoguitar he noticed he found it more and more difficult to listen to classical players with lesser strict rhythmic control or awarenes.
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Going back to the D.Mus. thesis, it seems an awfully small nail to hang a hat of a claim on. 
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