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For those that dont know Pedro Joia , hes a guitar monster , ex classical student and ex Manolo Sanlucar student , that have decades of career of playing and composing .
He mixes flamenco , fado , portuguese popular songs , oud etc
saw him last year , what a concert it was..., hes going to release new material late this month or january . very hard to find past records.... i found one (jacaranda) more or less cheap...
Jacaranda full alb. (hard to find) , colab with braslians artists (he lived there some years) I recomend song 2 ; 4 ; 11 , where you can hear more flamemco inspiration and also oud guitar
3:49 - Porta do silêncio Ft. Ney Matogrosso 11:37 - Uma canção por acaso Ft. Mónica Salmaso 38:32 - Duas nuvens Ft. Ney Matogrosso
This is easy to find (and cheap) last work , its called "Zeca " that was a College professor and singer , that composed revolutionary songs in the 70s Pedro Joia made a flamenco twist to all songs versions that are more know Example
Posts: 14852
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:
RE: My Flamenco progression Log (in reply to Ricardo)
its his version , fusion , and have to adapt with others , the others players arent flamenco players so they have hard time to keep up with , as they still have hard time to keep up with the adaptions
he plays all styles perfect , very rare play just tradition style , mayve just when he plays alone at his house (who knows)
heres a good example , flamenco , classical and fado all mix up and alone
here with less mix , old from 1999 "Sueste" record
Posts: 14852
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:
RE: My Flamenco progression Log (in reply to Manitas de Lata)
praticing many things
bigger nails equals easier to the brain but more control needed also.
Trying Alzapua and bar arpeggios with alternate picking and notes , to exercise the brain and give him some work and open more possibilitys hardcore and mindblowing, for someone that dont have any background like classical
will try to alzapua and index picado at the same time , dont know the name for that
Posts: 14852
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.
RE: My Flamenco progression Log (in reply to Manitas de Lata)
well , some thoughts about .
1- Im fighting with "la pinza"
so, when someone does the tecnique , we cant hear the thumb on 6 string or strings , but we hear the tap on the with the middle and ring finger. When i do , i can hear the thumb on the 6 string (sometimes other string) and tap
whats missing that i cant understand?
2- im starting Sevilhanas , never liked that much , maybe too folk for me i dont know, i can apreciate a litle bit more nowadays , still... if i Skip Sevilhanas its like skiping "leg day" ?
i think that the translation for Pinza is Plier or twezeer (?)
you hit the thumb on 6 string(but without string sound i think) at the same time that you hit the top of the guitar below 1 first string with the middle and ring finger
Posts: 14852
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)????
RE: My Flamenco progression Log (in reply to Ricardo)
its a the same time , but i think that you can only ear the tap and not the thunb stroke
a RASGUEO DOBLE like a crab closing his claw
We begin with a blow that we give with the thumb downwards on all the strings, and at the same time, we also hit the cover with the ring and middle fingers, this is done with a movement that like a clamp, and this is done closing the hand.
let me see if i can found something visual (not easy)
Posts: 2549
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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