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@2:31 and 2:34. Isn't bulerias abanico played as triplets though since the tempo is already fast? Sextuplets at 225 bpm is playing abanico triplets at 450 bpm, holy cr*p if I 'm right
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Joined: Dec. 14 2004
From: Washington DC
RE: Is he playing abanico sextuplets? (in reply to metalhead)
No. 16ths starting on “ah/8-e-&-ah/9-e-&-ah/10”. Pattern 1 is P(up)/am-P(down)-P(u)-am/P(d)-P(u)-am-P(d)/P(u)… Pattern 2 is similar but change am for a down, and P down for i down.
For reference of some fast 6 tuplets, around 190bpm at 4:26:
RE: Is he playing abanico sextuplets? (in reply to Ricardo)
Don't understand pattern 2. I mean I do P C I P, so he's doing a standard abanico it seems, the pattern would be the same rihgt? Only the subdivision is different.
And how would you go about counting sixteeth notes in bulerias? I would have to atleast count it at slow tempos when I'm practicing, and it looks difficult to do so since counting 16th notes at even a slow bulerias tempo will be difficult
Posts: 15329
Joined: Dec. 14 2004
From: Washington DC
RE: Is he playing abanico sextuplets? (in reply to metalhead)
quote:
ORIGINAL: metalhead
Don't understand pattern 2. I mean I do P C I P, so he's doing a standard abanico it seems, the pattern would be the same rihgt? Only the subdivision is different.
And how would you go about counting sixteeth notes in bulerias? I would have to atleast count it at slow tempos when I'm practicing, and it looks difficult to do so since counting 16th notes at even a slow bulerias tempo will be difficult
If you think of Solea as the same form as buleria there should be no issue. It is faster that is all. 1e&ah, 2e&ah, 3 etc. Get it? I counted it clearly for you. The pattern 2 he does is:
P/a-i-P-a/i-P-a-i/P. Count it from 7……ah/8e&ah/9e&ah/10. If you have problems starting on the “ah” of 7 as a pick up to count 8 (down stroke), practice it very slow like Solea or Solea por bulerias tempo/feel. Speed it up from there. It is not hard.
Perhaps develop the basic concept of triplet abanico as a steady stream of 16ths with a metronome. It is challenging for students because the feeling of the beat changes to different strokes as it rolls along. This is a type of synchopation that needs to be mastered. It is a basic necessary rudiment regardless of meter. I developed it a lot in rumba which is the same tempo as bulerias. Paco did this first time and ever after in La Tumbona, 1980. You can see him do it in his solo live in San Francisco.
RE: Is he playing abanico sextuplets? (in reply to Ricardo)
quote:
P/a-i-P-a/i-P-a-i/P. Count it from 7……ah/8e&ah/9e&ah/10.
It is challenging for students because the feeling of the beat changes to different strokes as it rolls along. This is a type of synchopation that needs to be mastered.
Is a binary subdivision on beat 8 9 10 a Jerezano thing or is it a matter of taste?
J. Conde shows Bulerias of Andres Batista. At 6:33 one can see triplets on beat 8 9 10. This simplifies compas when you have to play triplets like pai and pmp. No?
Posts: 15329
Joined: Dec. 14 2004
From: Washington DC
RE: Is he playing abanico sextuplets? (in reply to devilhand)
Rudiments. Rasgueados are rudiments. A paradiddle is designed for 4 note subdivisions and a paradiddlediddle for 6 tuplets. The idea of developing rudiments is to control rhythmic phrases. Using those type of patterns for the “wrong” subdivision creates interesting feeling in the phrases. Same goes for rasgueados. This is not rocket science.
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