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Yes, the Farruca is missing and I didn't notice it. I'll do it this week and will renumber the tracks. I may have deleted it by mistake when I use SoundForge to separate the tracks. By the way, there are 7 solos on the B side according to the sleeve 1. Tanguillo 2. Alegrías 3. Tientos 4. Farruca 5. Segudilla or Seguiriya 6. Bulerías 7 Granadina. Whereas the first one is in fact a Soleares and I wonder if there is a mislabelling.
I have this book, was found in my dad's library. Its all falling apart, but thanks for digging up the audio. IN part 2 I think there are the short examples, all pretty good stuff. The "minera" is actually more Taranta guitar wise.... of course if you accompany cante you can use either key but guitar players tend to think of Minera as being in G#.
Hi Dave, there is no mislabelling. It's my oversight. I've now posted the Farruca. The Soleares full solo is actually on Side A first track as "la madre de flamenco", then come the 25 examples. On Side B the seven solos: Tanguillo, Alegrías, Tientos, Farruca, Seguidilla or Seguiriya, Bulerías, Granadina.
I've now posted the Farruca. The Soleares full solo is actually on Side A firsst track as "la madre de flamenco",
Many thanks Francis! Lots of vintage falsetas in that farucca.
That soleares sounds to me like it was played by a non Spanish guitarist, very good but with a bit of 'accent'. Maybe it was played by Mairants himself? Definitely IMO not played by either Paco Peña or Paco Aguilar.
Fantastic as that was one of the ones i have , nice to hear it played (apart from me I mean) I should download the 3 or 4 i have for future reference , but i havnt figured out how to yet ... Anyway thanks agian .....
Thanks, Francis, that you've posted side A as well. It's really great to have this recording. It's very interesting to hear Paco Pena play when he was so young. The falsetas he uses and the way he combines them come back in his later recordings, too.It's interesting to note that Paco used the 4-stroke classical tremolo in his early days but in later publications he seems to have switched to the 5-stroke flamenco tremolo. I find it amazing that this Mairants book (and the CD) still causes such a big stir. It has become clear to me by now, that the whole material is Paco Pena's. He was so young at that time, that probably he had no means to publish a method alone. When Paco went to England as a virtuoso player, he was on BBC screen several times introducing and 'teaching' flamenco. You can still see some of these appearances on youtube, when Paco is still in his early twenties. Ivor, who was at his best around that time, teaching and performing his stuff, plus establishing his own shop and music centre, must have realized the potential of flamenco in Britain, and got Paco to do the project together. There's a company (which, I think, must have been made by Ivor) to publish this book, called Latin-American Publishing Co. Ivor Mairants would be 104 years old now. He established a guitar shop in 1958, just when this flamenco book was published, and the company is still going strong in London. You can check their homepage. I think, he must have organized Paco Pena's appearances on TV as well, because he was a well-known media personality that time. It's a shame, though, that Paco wasn't (and still isn't) given the full credit for his part, all the music, and the CD performance. OK, he had a contract with another publishing house that time, but still, to me it's strange that neither his name nor his photo appears anywhere. Click on this link for album details: http://www.moondoor.pwp.blueyonder.co.uk/ken/albums/details/256.html, Bye Attila
Juan Martín uses a lot of falsetas from Paco Pena. E.g. it's interesting to compare JM's Zambra Mora from his Andalucian Suite No.1 and Paco's Zambra. Sometimes you can even find cross-palo rersemblances in their music, too. Maybe it's because they both have links in London.
It's a shame, though, that Paco wasn't (and still isn't) given the full credit for his part, all the music, and the CD performance. OK, he had a contract with another publishing house that time, but still, to me it's strange that neither his name nor his photo appears anywhere.
On one hand, as a great player, I concur it's a shame that he doesn't get the credit Mairant gets. But...on the other hand, it would not be fair to imply him like a proper "composer" of the method as he is doing a sort of random mix of trad ideas that originate from Montoya, Ricardo, Sabicas, etc. What would be more appropriate, to me as an aficionado and teacher, is a method where individual fasletas are taught and the origins pointed out...even if they are slightly modified. See Normans site for example. It's amusing to me how things get "published" as original works when it comes to flamenco. Anything original, is not traditional...and if it is not traditional flamenco in a method than what the heck are you being taught?
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