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Posts: 15650
Joined: Dec. 14 2004
From: Washington DC
RE: My Flamenco progression Log (in reply to Manitas de Lata)
He is not bad but the compas of the melody of that Almoraima alzapua is not correct. I have many students doing it wrong this way, I don’t get it. The Bb and G are not on beat (except in one variation on record, but video below no, always as I describe), rather, you play A-Bb to make Bb and G OFF BEAT, or contra Tiempo. In other words that single A note on string 6 is missing. Frustrating. Also the G minor chord is done with abanico. Follow this instead at 3 min mark:
Posts: 15650
Joined: Dec. 14 2004
From: Washington DC
RE: My Flamenco progression Log (in reply to Manitas de Lata)
quote:
its his version , fusion ,
Sorry, I was referring to the guy in the FIRST video playing the same falseta. The guy with the orchestra had it correct (except the G minor chord thing).
quote:
he plays all styles perfect
All except flamenco you mean? . Just kidding he is playing great.
quote:
Ricardo when we do rasgeo , are all (excluding the minor) fingers suported under the thum finger? or the ring one is also loose like the minor?
There are different types of rasgueado, not only one way. What you refer to is referred to on foro as “flicking” or “loaded” rasgueado and there are many examples of this and when you DON’T do this. Let me find a recent discussion:
Posts: 15650
Joined: Dec. 14 2004
From: Washington DC
RE: My Flamenco progression Log (in reply to Manitas de Lata)
quote:
ORIGINAL: Manitas de Lata
tired to try Amorali and soy gitano
now im into this , and when tired with this , will try the songs , so divided some hours for songs and some hours for styles and tecnique.
It is important to understand, this thing he is describing where he claims students lose track of compas vs other patterns…this is the connection to the basic Solea pattern that needs to have already been learned hopefully. It is just that it is VERY fast as a solea. In other words, the “1,2,3” part of the compas that resolves or lead to count 10 reveals the connection of the rhythm to the Solea mother form. This performance by Carmen Amaya really clarified it for me when I was learning because it is like a “secret message” that is encoded inside the other wise looping Bulerias pattern. The important thing is to hear the “1,2,3…” phrase being accented continuously. Once you internalize this phrase the Bb chord thing with the pull off does not need to be broken down into component parts. There are many ways this phrase is expressed.
Here you notice a dramatic shift where the “1,2,3” solea phrase jumps in suddenly, at 5:13-5:30
And slower, the same phrase here for the intro and the ending at 3:26
Simply put, work on the basic Solea phrases first and then this thing in Buleria is a no brainer.
Posts: 15650
Joined: Dec. 14 2004
From: Washington DC
RE: My Flamenco progression Log (in reply to Manitas de Lata)
quote:
whats missing that i cant understand?]
No one can understand, as there is a language description issue. Perhaps a video and time stamp of the exact issue you want to achieve? As it reads, it sounds like you can’t achieve the bass note or pulgar chord stroke and golpe strike as a simultaneous sound? Like you make the note sound then the tap after broken apart rhythmically, but not together (like a drummer’s flam)????
Posts: 2860
Joined: Jan. 30 2007
From: London (the South of it), England
RE: My Flamenco progression Log (in reply to Manitas de Lata)
So the strings are muted? With the left hand?
This seems like something specific to a composition and not particularly something you need to be too worried about or even bothering with at the moment.
Hard to say without knowing exactly where you are on your journey.
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