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Bulerias Falseta - Free Lesson with Tablature
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JasonMcGuire
Posts: 1141
Joined: Apr. 10 2007
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 RE: Bulerias Falseta - Free Lesson w... (in reply to Guest)
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Romerito,
Attack is something that is particaularly important when playing for dance. Soloists can get by with less of it, but even soloists these days benefit from having a healthy attack, because it helps the guitar cut through the mix of accompanying instruments which has pretty much become standard. There are essentially 2 things that develop a players attack. Slow, Intense, Focused, Staccato Practice, with no dynamics.....Every note full volume. The second thing to develop attack is performance. Lots of performance. Preferably in noisy clubs or tablaos. Dance classes are also great for developing attack because you have to fight to be heard. The process takes years for most and then once you have it you have to learn how to use it tastefully and wisely. This is something that I am intimately aware of. Only time can help with that aspect. A warning comes with this type of practice.....Pay attention to your hands and the messages they send you. Don't over do it. Too much practice is worse than no practice at all. If you over do it and injure yourself you will have to stop playing for months. You can't rush developing attack in your playing. Be smart and take good care of your hands.
How is attack different from dynamics?
Dynamics refers to how loud or soft notes are played and how you use loudness or softness to create texture in the music. Shading is how some people refer to it, and I particularly like that term. Even a quietly played note can have attack. It is a matter of that note having purpose, intent ..... presence.Technique is important as well as the instrument itself. A well made blanca is going to produce more attack by virtue and that's why we use it most of the time in flamenco, although I am finding that the Cedar Top negra can be a great combo for accentuating attack as well.
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Date Oct. 6 2007 17:48:34
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Conrad
Posts: 533
Joined: Jul. 16 2003
From: Toronto, ON, Canada
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RE: Bulerias Falseta - Free Lesson w... (in reply to JasonMcGuire)
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quote:
One man's muddied triplets are another's sizzling sixteenth notes. Everything is in perspective now. Thanks Conrad.
 Oh, sorry, actually I wasn't speaking in a negative connotation exactly... "muddy" as in dirty and "gnarly" as in totally awesome etc... Ya, I'm tickled by that tightly packed sound but couldn't find an appropriate way to describe it. I'm so happy to be learning it. I think I may have heard Paco play something similar in Niquelao maybe. I don't remember...
This reminds me... there is an example in Gerardo's Encuentro video, at the end of his bulerias, he goes for a long continuous rasgueado, I think it's P-A-I, and I was almost given the impression of him going off rhythm I was so unsure of what he was doing. But he ends up ending more or less in time, of course, so I'm left confused. I know you can do that technique manipulated in to sixteenths, too, but I don't think that's what he was doing there. I dunno, I guess it's not important to think about it too much!! 
Thanks, again. I'm making my commitment today, too!
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Date Oct. 8 2007 2:14:46
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JasonMcGuire
Posts: 1141
Joined: Apr. 10 2007
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RE: Bulerias Falseta - Free Lesson w... (in reply to Conrad)
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quote:
ORIGINAL: Conrad
This reminds me... there is an example in Gerardo's Encuentro video, at the end of his bulerias, he goes for a long continuous rasgueado, I think it's P-A-I, and I was almost given the impression of him going off rhythm I was so unsure of what he was doing. But he ends up ending more or less in time, of course, so I'm left confused. I know you can do that technique manipulated in to sixteenths,
The sixtenth note version of the PAI rasgueado that you mention is something that Canito is famous for. P(up),A(down),I(down),P(down)
Try it. It is a fantastic rasgueado. If you have ever seen Canito accompanying dance and wondered why doesn't my rasgueado sound like that, then here is your answer. This is why I am speculating that R. Castellon got the rasgueado at the end of this falsteta (i,a,i,a) from Canito. It sort of makes sense. Also the two of them were working and hanging out together at the time. 
Glad to hear you are going to invest the time to learn this rasgueado Con. It will be an asset to you one day. Go ahead while you are at it and work on the other "Canito" rasgueado and you will soon set yourself apart from most guitarist's who use a limited selection of rasgueados.
I know another secret rasgueado that Chuscales showed me. Perhaps Romerito would like to share it here. Hint........it has 12 strokes and starts with the little finger.
Oops! I used 2 weenkie smilies in 1 post. I think that is against the law.
Later,
JM
_____________________________
http://www.Flamenco-Lessons.com/
http://www.CaminosFlamencos.com/
http://www.youtube.com/user/Bikhiyal
http://flamenco-lessons.blogspot.com
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Date Oct. 8 2007 2:37:46
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JasonMcGuire
Posts: 1141
Joined: Apr. 10 2007
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RE: Bulerias Falseta - Free Lesson w... (in reply to Guest)
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Here goes the 12 stroke one..........little finger is E.
E(down),A(down),M(down),I(down),A(up),A(down),M(down),I(down),M(up),M(down),I(down),I(up)
Everyone seems to think that upstrokes are only for the thumb and the index finger.
Equality for all fingers!!! 
Your turn Romerito.
JM
P.S. I bet the 11 stroke is the same without the little finger.
_____________________________
http://www.Flamenco-Lessons.com/
http://www.CaminosFlamencos.com/
http://www.youtube.com/user/Bikhiyal
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Date Oct. 8 2007 2:53:49
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guitarbuddha
Posts: 2970
Joined: Jan. 4 2007
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RE: Bulerias Falseta - Free Lesson w... (in reply to Guest)
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Just on the subject of twelves. eami i(up)mii(up) amii(up) is quite nice for three beats with clearly distinguishable attacks on pinkie, i upstroke and a finger for beats one two and three respectively. Another one which is great for developing the pinkie is (in consecutive use of the same fingers the second is the upstroke) eaae amme amie. All twelve note patterns are good for practing with buleria compas playing one two three and then four notes per beat. This is good because if you consciously accent the upstrokes the polyrhythm will generate a really cool range of syncopations in each of the time signatures implied by the choice of 1,2,3 or 4 notes per beat.
You can also use the same idea to vary the amount of strokes in rasgueados with thumb. (uppercase P is upstroke lower case p is downstroke ) PipP mipP amip. Again this is twelve strokes and is good to do as part of your compas aural training with a buleria playalong. With this one it is good to accent the new finger included in the pattern as they emerge (i then m then a ). Interestingly if you replace the P upstrokes with i upstrokes and exchange mae for ami then you get an inversion of the first pattern which I mentioned at the top.
Does anyone ever use four stroke stuff like mi(down,down) mi(up,up) these are really effective for use on just a few strings at a time. All the combinations (im,ai,ia,ma,am,ea,ae) are good for a warm up. Also it is good to prevent poor articulation causing adjacent fingers from bleeding into each other articulation wise.
D.
PS Similar excercises can be used for arpeggios. For example a twelve stroke arpeggios to improve articulation for Pimami is PiPi mipi mami. To work on the weaker side of the hand more effectively use amam imam iPmi. To get good balance and fluency in starting on a or P the 24 stroke pattern combinining the two is also excellent. If you want to focus on planting then keep the inactive fingers in contact with the strings at all times.
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Date Oct. 8 2007 20:30:22
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