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Ricardo
Posts: 14746
Joined: Dec. 14 2004
From: Washington DC
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RE: Moraito (in reply to Guest)
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quote:
Can you write what you think it is(Ricardo) OK. Assuming I agree with your first assesment 1,2, 4,5 7,8, 10,11. The very first thing you see in the video of his foot tapping, going with his seco scratching rhythm (no chord at first, just apagado atapao, whatever you want to call it). Then great, he does that tapping style, and later only when he plays compas or basic strumming between falsetas. That is like when a drummer hits a groove and does some funky stuff with the kick drum. He feels the same internal beat, but has the foot doing the old "al golpe" accents. The way I feel that foot is like this in 3/4 time, quarter note equals 115 bpm, "&2, 3&, &2,3&". Meaning the foot does not go space-tap-tap-space-tap-tap, as equal feelings. There is a stress internal like space-tap-TAP-space-TAP-tap space tap TAP space TAP tap. Or in your counting style "(12)one TWO (3) FOUR five (6) seven EIGHT (9) TEN eleven. ETC. Of course the accented numbers might not sound like or look like a louder or stronger foot tap, I am just using that to describe the internal feeling. Then he starts the falseta and switches to just feeling the basic beat. 3/4 time, his foot is on 1,2, and 3 of a 3/4 at 115bpm. YOU got crossed somehow by describing his tap as 1,3,5,7, etc. It would be, based on your counting system, 12,2,4,6,8,10. You lost a beat somewhere. Then you kept that logic and thought he was switching to 12, 1, 3,4, etc, but you were crossed. Typically, the switch of the foot tap feel happens on count 10, in your system. Meaning he is tapping 12,2,4,6,8,, then 10,11, 1,2,4,5, etc. The closing beat is the spring for the foot change gears, usually. That can happen on count 4 too, because there is no 12 in bulerias actually. It is just like a bar of 3/4 where the quarter note is 115 bpm, (NOT 230 bpm), and the down beat is 1, the closing beat is 3. The foot and the music so clearly go together to me. It is not a random choice. The foot is either 1,2,3 or &2 3&, depending on what he is playing. PDL does the same kind of thing. Tomatito too. Some folks tap only 12,3,6,9, which to me is the equivalant bpm for the quarter note of 3/4, but with a 6/8 feel. The foot being 1, and 4 of the 6/8 measure. You often see the compas of Guajiras written this way, alternating 3/4 and 6/8. To me, the two feels can overlap in bulerias. BUT the feeling of the foot going in 6/8 like this "2,3, 5,6" where the heavy beat is the space, is very different than the feeling of &2 3&, of a 3/4. That difference is important for bulerias. Ricardo
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Date Nov. 29 2006 5:50:05
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Ricardo
Posts: 14746
Joined: Dec. 14 2004
From: Washington DC
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RE: Moraito (in reply to Exitao)
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Lot of numbers. The important thing is "115bpm". If you don't have a clue what that means, get a metronome. Put the metronome to 115, and tap your foot right along with the clicks. Now count clicks, 1,2,3, while tapping foot. Now double time the click with hand claps, 1&2&3&, keep the foot going. You are like a rhythm machine now. Now omit clap "1", and the clap between 2 and 3. So you clap "-&2-3&-&2-3&", but keep the foot going on 1,2,3. The polyrhythm you create between your foot and claps, IS bulerias. That is the feeling as simply as I can put it. Now switch your feet and hands. Now the better way to do palmas, if you want to continue with this idea, is to reintroduce the clap that goes BETWEEN 2 and 3. But not just put it in there, you have to ACCENT it, louder than the other claps. (1)&2AND3&, (1) &2AND3&. But keep your foot going 1,2,3. If you have this groove with the metronome, then you can do palmas for me anytime. You can get an other guy to do the same with you and do another polyrhythm. 1 (clapped rather lightly) (&)ah(2)AND3&, 1(&)ah(2)AND3&, etc keeping the foot going. so the stuff in () is silent, but gets filled in by the other guy's clapping. When you put the two together it sounds like this: http://michaelk101.com/todd/toddmp3/jerezpalmlong.mp3 This loop got cut in a way so that the VERY FIRST SOUND you hear, the accented clap, is the "AND" in my description above. AND3&, 1&ah2AND3&, 1&ah2AND3&, etc. This is palmas bulerias very typical, and notice there is no 12's reference. The 12 counting of this gets in the way of learning IMO. Ricardo PS, here I am playing something to that loop so you can see how the music fits. http://michaelk101.com/todd/toddmp3/Ricardopdlfast.wmv
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 29 2006 16:14:11
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Exitao
Posts: 907
Joined: Mar. 13 2006
From: Vancouver, Canada
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RE: Moraito (in reply to Anders Eliasson)
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quote:
To Exitao. Try to relax with this counting and mental work. Try to feel ,Try to get the groove. Its before the mental thing. Without feel and groove.... No compás. Its like what you wrote about language the other day. Knowing how to translate perfectly a word or a frase is the mental part of language. Speaking, and understanding it is to be in the groove. We are all different and mental work helps a lot of people understand the world, but in my opinion, the grove, the feel its what counts (In all aspects of life hehe ) I just noticed this now. So much to take in. I agree with you Anders, and you are correct. My problem is that my intellect doesn't want to stay with my body and races ahead with every idea. But, yes, I will take efforts to take a deep breat and collect myself when listening or learning. I'll ruminate on all of this and just listen bodily and mindfully for the groove. And then... I'll be back with more questions, to be sure!!!! And again, thanks to everyone for their patience and efforts to set me straight!
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 29 2006 20:18:00
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