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    Atlas Flamenco

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    Atlas Flamenco

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    © All Rights Reserved
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    187 views49 pages

    Dennis Koster Guitar Atlas Flamenco

    Uploaded by

    jamie
    Atlas Flamenco

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    © All Rights Reserved
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    of 49
    4 1. a (amcneo bean Your passport toa new world of music Guitar Spyles from Around the Globe > Includes lessons on basic flamenco rhythms and techniques, including: *Soleares + Alegrias + Llamada + Rasgueado +Bulerias +Tremolo + Alzapia > Examples in standard music notation and TAB DENNIS KOSTER 2 Guitar Styles from Around the Globe Elamcneo Your passport to a new world of music DENNIS KOSTER A\fred, the leader in educational publishing, and the National Guitar Workshop, one of America’s finest guitar schools, have joined forces to bring you the best, most progressive educational tools possible. We hope you will enjoy this book and encourage you to look for other fine products from Alfred and the National Guitar Workshop. Copyright © MMII by Alfred Publishing Co, Ine All rights reserved, Printed in USA. ISBN 0-7390-2478-7 (Book and CD) This book was acquired edived and produced by Workshop Ars ne, the publishing arm of the Nacional Gular Workshop Nathaniel Gunod, acqustions and edhor Michael Rodman, editor Mare Cramen music sypesettng ‘Timothy Phelps, interior design €D recorded at Gimo Encerprises, Ine, New Yorks NY and mastered at Bar None Studios, Northford, CT ‘waTionaL =| Alfred Cover photo: © Look / EStock Photo, LLC SES eI Interior illustrations: Dennis Koster Contents ABOUT THE AUTHOR PRONUNCIATION GUIDE ..... INTRODUCTION srs itn inseam ‘THE GUITAR IN FLAMENCO CHAPTER 1—Flamenco Forms and Rasgueado Rasguendo. Lesson 1—Rasgueado with é, Compas Soleates re ‘The Compés of Soleares Aleggtas Lesson 2—Five-Suoke Rasgueado Lesson 3—The Golpe and a-m Stroke Golpe . The am Stroke... 2 Lesson 4—Lamada 1B Lesson 5—Extended Compas Sequences srg Compis por Alegrias M4 The Remate .. a 16 Lesson 6—Bulerias canara B Hemeola and Flamenco Compas . Playing Bulerias.. es Lesson 7—Other Flamenco Rhythms. 7! La Earruca ‘Tangos Fandangos Siguiriyas.. CHAPTER 2—Flamenco ‘Technique and the Falseta ..... 2 Lesson 8—The Thumb in Flamenco 2 por Soleares seuss ranean 2 or Alegtiascsnnnn Lesson 9—Arpeggio Falsetas.. Escobillas por Alegifas ness por Soleares por Balerias Lesson 10—Alzaptia. 2 Alzapiia por Soleares . 2 Alzaptia por Bulerias 2 Lesson 11—Flamenco Tremolo sn so 3 por Alegtias ne por Soleares = 5) Lesson 12—Togue Libre: Granadinas and Taranaas ... 3, Granadinas 3 Tarantas .. - 3 CHAPTER 3—Concert Solos 3 Final Words nn eo3 Solo por Soleares. 3 Solo por Alegrias 3 Solo por Bulerias 4 Acompact discis included with this book. 8) This disc can make learning with the book casier and more enjoyable. The symbol shown at the left appears next to every example that is on the CD. Use the CD to help ensure that youre capturing the feel of the examples, interpreting the thythms correctly, and so on. ‘The track number below the symbol corresponds directly to the example you want ro heat. “Track 1 will help you tune your guirar co this CD. About the Author Dennis Koster’s New York debut was hailed in the New York ‘Times as “a considerable success ...a brilliant, aptly fantastic performance.” One of New York’s most sought after teachers for over 25 years, Dennis has guest lectured and performed at the Peabody Conservatory, the Juilliard School, the American String Teachers Association, and the New York Bach Gesellscaft. A brilliant classical guitarist and flamenco player in equal measure, Mr. Koster studied with Juan D. Grecos, Mario Escudero and the legendary Sabicas, who called him “an excellent interpreter of my compositions.” He has toured extensively in the U.S, and Japan, and has been broadcast throughout Spain. A frequent artist at the National Guitar Workshop, Dennis teaches in New York Cigy and is the author of the three-volume method, The Keys to Falmenco Guitar Hiis classical and flamenco CDs are on the Music Masters label of the Musical Heritage Sociery. Pronunciation Guide Aire EYE-tay Alegtias = ah-lch-GREE hs Alzapua hl-thah-POO-ah Apoyando = a-poh-YAHN-doh Baile = BUY-ce Bulerias = boo. Cante KAHN-tay Escobillas = es-coh-BEE-yahs Falseta fahl-SET-ah Fandangos = faln-DAHN-gohs Farrucus = fah-ROO-kah Golpe GOL-pay Golpeadar = gobl-pee-AH-dohr Granadinas = grahn-ah-I)EEN-ahs Huelva WELL-vah Jondo = HON-doh Llamada = ya-MAH-dah Madre MAH-dray Picado = pee-CAH-doh Rasgueado = rahs-gay-AH-doh Rema ray MAH-tah Siguiriyas Soleares Soledad Tangos Tarantas tah-RAHN-tas Togue ‘TOKE Verdiales = vair-dee-AH-less tnteoduetion In the minds of many guitarists, flamenco is “the king of guitar styles,” combining the snost appealing aspects of all guitar playing: Its spectacular, driving rhythms rival che most exciting popular styles; ic shares improvisational freedom and great hatmonic sophistication wich jazz; it equals the musical depth and complete right-hand rechnique of classical guitar; and today’s flamenco players perform with a level of virtuosity that leaves even heavy metal players breathless. Whac was once an art limited to the narrow confines of ethnic boundatie—the Gypsies of southern Spain—today, flamenco is played all over the world by guitatists whose enthusiasm appears limitless. Many are first drawn ¢o flamenco by exposure 0 super- ficial “pop-flamenco” styles; many begin playing flamenco by “faking it” in an attempt to “sound Spanish.” But, oh-so-often, these same guicarists, once they've heard the real thing, forget all that is fake and devote themselves to learning authentic flamenco. From classical to rock, guitarists of other styles often express frustration about solving the mysteries of flamenco: “How can that technique possibly be done?” or, “I could never learn that complex thythm,” and so on. Ics my goal to answer all of your questions abour flamenco and have you experience the thrill of playing true flamenco guitar ‘This introduction « flamenco is designed for guitarists who have some classical training orare adept at fingerstyle playing. This book also assumes that you read standard music notation and/or tablature and that you havea good understanding of the fundamentals of harmony and shythm, In this book, we'll explore the complex strumming techniques of flamenco as well as flamenco percussion effects, thumb technique, arpeggios, cremolos, picado (Flamenco scales), and performance style. Not only is flamenco guitar technique complex, the art of flamenco itself is complex, encompassing literally dozens of songs and dances from nearly every region of Spain. Ln this book you will sample many different flamenco forms, buc in an effort to provide some depth into the study, che lion’s share of the forms will be from the “ftst family of flamenco rhythms’—the soleares family, which includes soleares,alegréas, and ulerias. Al the techniques explained will be applied co chese three thychms, building your flamenco vocabulary and leading to thzee concert-level solos at the conclusion of the book. These solos incorporate all the techniques, rhythms, and melodic variations explained in these pages. Along the way, many other flamenco forms will be introduced in short examples. ‘The Guitar Adas series welcomes you to Spai iad the thrilling world of flamenco guitar The Quitat in Flamcneo Flamenco is the art of the Andalusian Gypsies—their song (care), dance (bale), and guitar playing (40g). Although its origins go back hundreds of years to the time of Ferdinand and Isabelle, flamenco as we know it emerged in southern Spain during the mid-19th century: In its early history, the guitar in flamenco was a humble accompaniment to the song and dance, which were considered far greater arts, if the guitar was considered an art at alll By the turn of the century, guitarists such as Maestro Patifio began to give a more ‘expressive voice to the guitar, but it was not until the 1930s that flamenco guitar achieved recognition as the expressive equal of the song and dance. Ramén Montoya revolution- ived flamenco guitar. A friend of classical master Miguel Llobet, Montoya not only brought classical guitar technique to flamenco—all the arpeggios, scales, tremolos, and so on—but the danguage of classical music as well. Montoya was the fist to perform solo flamenco guitar concerts. His Paris concerts during the Spanish Civil War caused is style was further developed by followers Nifo Ricardo and concert artists Sabicas and Mario Escudero, who performed solo flamenco guitar in che great concert halls of the world, a sensation. In che 1970s, another revolution took place in flamenco. Paco de Lucia, who, in his carly 20s, was already considered one of history's greatest guitarists, creared a new modern style of flamenco incorporating the harmonic language of progressive jazz and a sophisticated Latin-influenced approach co traditional rhythms, Paco’ revolu- tion cd an entire new generation of flamenco artists in Spain, where there are now more high-caliber flamenco artists than at any other time in history, largely due to the enormous influence of Paco de Lucfa, Flamenco can be played on any nylon-string guitar as long as it is equipped with some type of a golpeidor (tap-plate or top-guard, similar to the pickguard on a steel-string acoustic guitar), to protect the guitar from stylistic rhythmic tapping. ‘Traditional flamenco guitars are cypress bodied, have low action and a more percussive and brilliant sound chan classical guitars. Flamenco players are very casual about their sitting positions. Most sit cross legged, many use footstools, and some sit in the traditional Gypsy position with both feet on the floor and the lower bout of the guicar resting on the right thigh, Flamenco lefichand technique is identical to that of classical gui- tar; right-hand position is only modified as needed to perform specific flamenco techniques. Fingernails are used co play flamenco just as chey are in classical guitar. The very best way to earn flamenco isto accompany flamenco dancers, and later, flamenco singers. If there are no flamenco autists near you, listen toall the flamenco recordings you possibly can— not just modern flamenco, but aso historical recordings of the past masters and especially the cante. Traditional Gypsy position Chaptee f savercorons RASGUEADO, Flamenco strumming technique is called rasgueado, A remarkable variety of rasgueado techniques are applied co flamenco chythms—and che resulting sound can be electti- fying. ‘To most guitarists, expertly played rasgueado sounds like almost impossible virtuosity, but the technique can be broken down into basic movements, which can be leamed through patienc practice, Rasgueado strokes are played by extensor muscles (che muscles that extend the fin. gets). Outside of flamenco, these muscles are rarely used in guitar playing. ‘Their strength and agility must be developed carefully over time. Tetakes about one year of intelligent practice to master basic rasgueado cechniques. One of the biggest mistakes a flamenco student can make is to equate excessive force with the fire they hear in great rasgueado playing. Flamenco masters play rasgueado effortlessly. The fice comes from their expression. Never strain or use excessive force when playing rasgucado technique. Great rasgueado is played by relaxed hands using free unrestrained motions learned through patient practice—nor by brute force! LESSON 1—RASGUEADO WITH ¢ Right-Hand Fingers Thumb ccs? Index i Middle m Ring Lite (pinky) .. In flamenco playing, the rhythm is often marked by downstrokes and upstrokes of the index finger (i), which uses a free, swinging motion from the large knuckle joine (the joint chat connects the finger to the hand). This technique is performed from a steady and comfortable hand position in which the thumb (p) rests on the 6th string to balance and support the hand. ‘When j alone plays rasgueado strokes, the little (@), ring (@, and middle (m) fingers remain passively extended and are never curled into the palm ‘Starting position: 7 is folded in toward the palm; ¢, a, and m are extended passively 1, Downstroke: 7 excends fully 2. Upstroke: jseturs co is sarting position, with a free, swinging motion. brushing (not hooking) the strings. COMPAS Compas, which means “rhythm,” may be the most important word used in flamenco. Its meaning subtly changes depending on the context in which it is used. Compas can describe thythm in general, or it can be used to describe the specific rhythmic structure of a flamenco form. For example, in this lesson, we will be learning the compas of soleares, Compés can also be used to describe the individual phrase of a flamenco form. Example 2.on page 8, for instance, is one compis of soleares, whereas example 3 includes two compases. SOLEARES ‘The Gypsies call sodeares “La Madre de Cante” (“The Mother of Song”), as itis generally considered the oldest form of flamenco, Soleares derives its name from the Spanish word soledad, which means cither “loncliness” or “solitude.” A slow and serious song, soleares is an example of flamenco's ante jonde or deep song, Its lytics are among the most moying and profound in Spanish poetry. In the exotic key of E Phrygian (the scale you hear when playing all natural notes from E to E), ¢ypical chords in soleares are shown below. Notice that the E chord in the last bar is major. This is typical, even though the other chords are clearly Phrygian (a minor mode). NOTE: {= Downstroke In flamenco music notation, itis customary co show all { =Upstroke of the notes in a rasgueado chord only once per beam. Further occurances of the chord under that beam are f= Accented downstroke indicated with a noteless stem, i = Group of strokes with # ‘THE COMPAS OF SOLEARES Soleares and the dances that derive from it, alegrias and bulerias, share a very distinc tive rhythmic structure, Often written in time for easier reading, soleares is actually performed in 12-beat phrases with a very specific series of accents: ‘The Compas of Soleares bisiiidiiddd See Lesson 5 on page 14 for a more in-depth seudy of this thythmic seructurc, Adding accents on beats 3, 6, 8, 10, and 12 wansforms an exercise of steady eighth notes into true flamenco. Play accented downstrokes with slightly more force than the unaccented beats. A ALEGRIAS XO1120 Next we curn to one of flamenco’s most joyous expressions—alegrtas, which is Spanish for “happiness.” ‘The emotional opposite of soleares, alegrias shares the same chythmic structure but is played at a quicker tempo and in a major key. The alegeias in example 3 is in A Major. Note chat flamenco guitarists use two fingers vo play the firse- position A Major chord: the tip section of the Ist finger covers the notes on bath the 3rd and 4th scrings (see the diagram on the right). r 3 od TWatk iti flail td AA ti id fitd LESSON 2—FIVE-STROKE RASGUEADO, ‘When rasgueado technique incorporates all the fingers of the right hand, it blossoms into a full language of remarkable guitar sounds and seemingly limieless thythmie articula- tions. ‘The most commonly used raygucado, known as the Ramon Montoya rasgueado, is the five-stroke rasgueado, Four downstrokes are followed by an ‘upstroke. This rasgueado patcern is excellent for preparing the hand for other flamenco techniques. Your ulsimate goal in learning the five-stroke rasgueado is co acheive complete independence of the fingers, resulting in evenly spaced rasgucado strokes, each heard individually. The hand is held in a steady and comfortable position, the chumb resting on the 6th string for balance and support. In che starting position, the fingers are folded in toward the palm in a loose fist. The fingers are held close to the strings wich the fingertips just behind the Gth string (even though che chumb is resting there), Each finger, beginning with the e, chen a, m, and i, is ally extended in a seties of completely independent downstrokes. Each finger completes its stroke before the next finger moves. The five-stroke pattern is completed by an upstroke with , which brushes (rather chan hooks) the strings ‘The Five-Stroke Rasgueado Pattern down a down m down i down i up ing position 1. Downstroke with ¢ 2. Downstroke with @ 3, Downscroke with ne Remember that in beginning to learn five-stvoke rasgucados, you will be training new muscles. Be sure to kecp your hand supple and relaxed during your initial actempts at this technique. Never force or strain (it can't be mentioned often enough). As you practice five-stroke rasgueados, your finger independence and extension will develop— but this only takes place over time. Next, wewill introduce five-stroke rasgucados into the compases of soleares and alegeas. Here, the five-stroke pattern will be used 10 articulate even, quintuplet rhythms (one beat divided into five equal parts). This technique will be indicated in the notation as follows: In example 4, a five-stroke rasgueado precedes each accented beat. Notice how the accents now stand out in stark contrast ro the more fluid rasgueados. “ED-y ttl td tt —— = Flamenco dancers often lead into each accent with a volley of machine-gumlike niconeo (heelwork). ‘The effect is very dramatic, like a giant wave cresting and then breaking. Guitarists create a si ding into accents with multiple rasgueados. The desired eflect is achieved when there are no perceptible pauses between the rasgueados or the accented beats. Here, continuous rasgueados lead into every accented beat of the soleares compis. ‘When mastered, this rasgueado pattern reveals the true aire (spirit) of soleares. Note that the second compis of this example has the added spice of chord alterations, which are typical of che style. G5 EE SSS EEE WAT | TMT YL | tt ee eee —=—: — = a * é + 3 LESSON 3—THE GOLPE AND a-m STROKE This lesson explores two particularly strong hythmic expressions of flamenco guitar: the golpe, a percussive tap on the face of che guitar, and the a-m stroke in which two fingers are used as one, GOLPE The golpe is used to mark time during silences or to mark accents. Ic is used alone or adds greater emphasis ro accented notes and chords. Golpes ate played with the a finger in 2 motion that is almost identical to a rest stroke (the technique in which the striking finger lands on the adjacent lower sering), except that the fingernail (not the pad of the finger) contacts the face of the guitar about one-half inch from the Ist string, Golpes are played with very little force. The face of the guitar is very responsive and produces a clear golpe sound with the lightest couch, Overly loud golpes can sound very ugly—or worse, break your fingernail! Important Note: Never play golpes on a guitar that dloes not have a golpeador (rap-place or top-guard). X= Golpe in tablacure or in standard notation Golpes will leave permanent scars an the face of an when combined with other noves or chords tunprorected guitar oe 4] = Golpe alone in standard music notation Here is a very simple use of golpes combined with four-note chords to achieve a stviking, (pardon the pun) rhythmic effect, Icis important to note that golpes, like much else in flamenco, are often added on the spur of the moment. It is unlikely that a flamenco guitarist would play the same piece twice and apply this technique exactly the same way both times. ‘THE am STROKE The a-m, stroke is the loudest rasgueado stroke, using two fingers as if they wete one, Jarge finger. ‘This stroke can be performed in two distinct manners, 1) With the hand held steady and the thumb resting on the Gth string, m and @ are folded into the hand while e and é remain passively extended. ‘Then, m and a are fully extended, striking the accenced chord. This stroke is used for five-note chords 2) An even stronger accent can be achieved by adding forearm rotation to the stroke ‘The entire hand moves, and the thumb does ror rest on the 6th string. As m and a are folded into the hand, the wrist rotates so that you see into your palm. ‘Then, as ‘mand @ are extended, the hand and arm turn so that by the time the stroke is completed, you see the back of your hand. This isa very loose, whip-like motion in which the hand is almost completely passive. The looser the hand, the seronger the stroke. Any rigidity in the hand or arm will weaken the sound. 42 The use of am» strokes is essential ro the accompaniment of che most important of all flamenco dance steps—the flamada. LESSON 4—LLAMADA In flamenco, ic is the dancer who controls the length, speed, struccure, and intensity of the dance, In almost every other form of dance, people dance to the music, but in flamenco ic isthe job of the guitarist—even if you're Paco de Lucia himself—to follow the dancer. An important aspect of the relationship between the flamenco dancer and guitarist is che dance step known as Hamada (the call), In soleares, alegrias, and bulerias, large sections of the dance are brought to a close by the lamada, often marked with a strong, stamped 1-2-3, and always ending on the 10th beat of the final comps. Just as the llamada is @ specific step, there is specific music used to accompany it. Following are examples of llamadas por soleares" and alegtias. Both use strong 4-7, scrokes (0 match the strength of the dancer's heelwork. ‘The golpe on the 4th beat of cach cxample is very typical in llamada accompaniment Llamada por Soleares Llamada por Alegrias r 8 "ek 9 ad “por Soleares” means “in the rhythm of Soleares.” 13 LESSON 5—EXTENDED COMPAS SEQUENCES In the following examples, the chord progressions, techniques and musical structures introduced so far are combined and expanded into longer compas sequences. ‘These are typical patterns used to accompany the flamenco dance. COMPAS POR ALEGRIAS ‘The repeated slur from T# co E on the Ist string of the A Major chord is a very typical omament in alegrfas, and certainly underscores the joyous aite of the dance. Another traditional touch in this example is the tasty use of chromaticism (non-chord tones) on the E7 chord of the fourth compas (fourth system), and the sliding D and A chords of the fifth compas, YCI = Half barre (three strings) at the Ist fret CUL = Barre at the 2nd fret gy LS ee eta Wt Li ty pa ty THE REMATE Asin example 9, the use of slurred ornaments adds authenticity and character to the compas sequence in example 10. You'll notice that three of the compises in this example end with arpeggio figures instead of rasgueado on the 10th, 11th and 12th beats. ‘This typical manner of ending a compds is called the remate, which literally ‘means “re-Kill” 2 rather gruesome term borrowed from bullfighting, Each flamenco form has its own distinctive remate that is its signature. Note that both soleares and alegrias always end on the 10th beat of the final compés. 4141 2 camiieamit; | cami bz} eami ae eft Wt | UIT AMT Lp yt Aidt PSS SSS A eee 18 LESSON 6 —BULERIAS Bulertas is the most firey and exciting of flamenco dances. It is also the fastest version of the 12-beat compés derived from soleares. “To reflect the faster tempo bulerias is written as a compts of 12 eighth notes rather than 12 quarter notes. oe DPPPH HDD IDOD > wn wR u When seen in beamed cighth notes (example 12, below), seaders with classical training, will agree that the origin of this accent pattern (used for soleares, alegrias and bulerias) becomes more apparent. HEMEOLA AND FLAMENCO COMPAS Examples of Spanish music dating back hundreds of years demonstrate alternating measures of owo and then three accents, When expressed in eighth notes, both } and § will have six cighch notes per measure; the difference between the two meters is the placement of their ac 2 wld mn nH Alvernating measures of § and } time is called a Aemeola rhythm, Examples of this shychm are heard in the opening bars of Rodrigo’ Concierto de Aranjuez, in Gaspar Sains Canarias, and Leonard Bernstein's “America” from West Side Story. ‘The hemeola rhythm in soleares, alegrias and bulerias is not quite so obvious because the 12-beat phrase begins after the downbeat, and ends on a downbeat. B mIITII monn Nn, [aes c a om Unforqupately bulerias is very confusing wo lean when written “correctly” in alternating bars of § and 3 time. To express bulerias chythm as clearly as possible, we will portray cach 12-beat compas as one bar of 12 eighth notes. We will not, however, use a time signature, since that does not accurately represent what is happening in the buleris, thet: ‘There will be no time signacure at all. Bach cighth-note beat will be beamed individually, and the counting of each compds (with accents in bold) will be written below the TAB staff. PLAYING BULERIAS In the Phrygian mode (such as from A to A with an F Major key signacure— A-B_C-D-E-FG-A), the most important chord change is “II-I: two major chords, cone half step apart. The bulerfas in example 16 is played in A Phrygian. The Il chord is BY Major, played in a “flamenco version” chat includes the open Ist stting. X10330 Since bulerias is played at a much faster tempo than either soleares or alegrias, the compas is expressed in much simpler beat divisions than are generally used in che slower dances. The compas of example 14, for example, simply uses golpes to mark the unaccented beats, and chords on beats 3, 6, 8, 10, and 12 ate played with J upstrokes, Bulerias can be easly learned if you conceive of the compés as two phrases of six beats. 1 Compase of Example 16 popoagapadod saYouteWe id ‘The compés below (example 15) is identical to the one above (example 14) except that the second half (beats 7—12) is elaborated upon with the use of ewo five-stroke rasgueados. Because of the quick tempo, one rasgueado is most often used to express two beats in bulerias. Be sure that the final upstroke of each rasgueado receives a full beat. 15 The Second Compase of Example 16 pf negy hy oY Ute ttt dt x x Fx eomit, eonit x 89 wR Ic is also important to note that a bulerids is often phrased from beat 12. Look ahead to the Solo por Buleriés on page 44. ‘The filth, sixth, and seventh compéses begin on beat 12, which is why the second and third systems have open measures at the end (no bar lines). 19 Example 16 demonstrates seven different ways to play bulerfas compas, These variations are vvery much like a vocabulary, Master each of them individually, and then begin to inter- change them freely. In this way, you will become fluent in the language of bulerias. Bulerfas, like soleares and alegrias, always ends on the 10th beat of the final compés. is 2 4 ay x x fom Comis 1 2 3 4 5 67 8 9 OB 4 eo HL 2 9 123 45 6 7 8 9 wim 123 45 67 8 9 w HM repre asc soo wn 123456789 WHR Ut LUUt aN ttt eT dtd uth tt cumi, cami xe YE ESSE 123 4 5 6 7 8 9 wu 123 45 67 8 9 LESSON 7—OTHER FLAMENCO RHYTHMS Soleares, aley exise, and w nd bulerfas represent onc family of flamenco shythms, Several others iple some of these forms in this lesson. LA FARRUCA La Farruca, a folk dance from northern Spain, is in}time and the key of A Minor. Although neither Gypsy nor Andalusian in origin, flamenco artists have embraced and performed La Farruea for more chan a century. 7 - ‘ ‘ A TANGOS ‘Tangos, by contrast, is pure Gypsy flamenco in 4 time and the Phrygian mode, Even this short sampling of tangos demoscrates a depth of expression La Farruca could never hope © approach. The eighth notes in this tango have a swing (uneven, long-short) feel. 18, Tack ut t 3 BR Get t Wit tox | ty { 1111+ —— 4AM + —f — ai FANDANGOS Fandangos are songs and dances that dace back hundreds of years to the Moorish domi- in. Every region of Spain—nearly every city—has its own particular version of fandangos. Some forms of fandangos are strictly vocal and never danced {sce lesson 12, page 32). When danced, fandangos are very much like flamenco walezes—in # time, and almost always with a golpe on che first beat of each % bar, Verdiales A lively dance from Malaga, verdiales is one of the most familiar and frequently imiraced Spanish rhythms 5 At it R ttt {it Fandangos de Huelva Fandangos de Huelva is the most popular form of fandangos among flamenco artists. Icis 4 more sophisticated and syncopated version of fandangos compis, Notice the use of indifinite ties to show chat the chord continues to ring through the golpe. 20 Track Wit tit . Ltt = = wt Pata ay Pop ot it = ia} oe es cs sete: + 4 = f —— — 5 SIGUIRIVAS (One of flamenco’s most profound and tragic expressions, the lyri of carte por siguiriyas often question the very meaning of life. Siguiriyas has a very particular aire—a slow drag, which is never rushed and never used as virtuoso display. The compés of siguitiyas is another variant of the hemeola rhythm. In siguiriyas, che compis begins on the second beat of the } bar and is counted as five unequal beats. aa EEF” Compas 18 23 24 Chaptce J ismncoiecno" So far, we've only expressed flamenco comps through the use of rasgueado. In asense, | this mirrors flamenco history—the earliest role of the flamenco guitarist was to strum chordsin dance accompaniment. Butas the art of flamenco guitar developed, the musi- cians began to assert themselves by incorporating melodies into theit chordal accompaniments. The melodies are called faliras, “The earliest flsetas were undoubtedly simple melodies played with the thumb, butin the hhands of the great flamenco guitarists of the 20th century, the art grew to encompass the full sange of guitar technique. All manner of scales, axpeggios and tremolos were used to realize the full harmonic potential of the guitar fingerboard. In this chapter, we'll explore the flamenco approach to these techniques and demonstrate how they are used to express both the rhythm and the emotional content of various flamenco forms LESSON 8—THE THUMB IN FLAMENCO, In the early history of flamenco, tiny small-voiced guitars were most often played in outdoor settings. To have their falsetas heard under these conditions, eatly flamenco guitarists developed che thumb technique of apayando (rest stroke). While in most respects, the right-hand techniques of both classical and flamenco guitar are identical, a subtle but profound difference becween the two is the use of apoyando thumb technique. Most classical guitarists razely play rest strokes with the chumb, whereas in flamenco almost all thumb strokes are played apoyando. ‘The flamenco hand position favors apoyando thumb work, a more arched wrist and more emphasis on hand and arm weight in the playing than is generally used in modern classical guitar vechnique The following examples explore various uses of apoyando thumb strokes, expecially in combination with / free strokes, In these falsetas, allow the thumb to fall effordessly yet weightily from string to string. Use gravity rather than force co play these falsetas Rest stroke with p POR SOLEARES This falseta is very similar to the rasgueado compés in example 5, but expressed with p-é technique. ‘The arpeggios on the first beat of each bar are played by gliding p from string co string until the high note of the chord, which is played free stroke with i. This technique produces a stronger arpeggio than is possible with pi moa free strokes. “The second compas of this example scems a repeat of the frst until it is incerupted in beats 6 through 9 by a bas melody in pf ehythm. Bring our cis melody with very strong apoyando thumb strokes. 2 Track So p—ip—ippip ppip pot pol —————— Ramon Montoya was one of the eartiest flamenco virtuosos. He was born on November 2.1880. Though born in Madrid, faraway from Andalucia, he developed the ability to play flamenco so well that by the time he was 14, he was ‘employed in a Madrid cafe to accompany cantaores (singers). His virtosity grew as fast as his fame. He began recording in about 1910. He was active as a performer until about 10 years before his death in 1949, 2 POR ALEGRIAS ri Here, a simple bass melody in a tripler rhythm ff} is played with thumb rest strokes. ‘The open Ist string is a pedal tone (a sustained or continually repeated note) played with / free strokes. Interspersed within this pattern are flowing melodies played with as ‘many slurs as possible, This is another very important aspect of flamenco guitar style that will be explored in many upcoming examples, 23 Track 1» pippippip pippippip p eae —— a pippippip LESSON 9—ARPEGGIO FALSETAS Ramén Montoya was most likely the first flamenco guitarist to play p-i-m-a arpeggios, His recordings document seemingly limitless arpeggio parcerns on chord progressions covering the entire fingerboard. ‘The importance of thumb apoyando carties over into arpeggio falsetas, the vast majority of which have arpeggio patterns accompanying apoyando bass melodies, as in example 24. ESCOBILLAS POR ALEGRIAS Excobillas isa very important section of the dance alegrfas in which the dancer displays llas means “brushes,” describing a particular dance step. spectacular heelworl. Escot Example 24 is the most traditional accompaniment to escobillas. The melody is played entirely with apoyando thumb strokes. pimapimopima — 2% pimapimap i pimapimap i pimap i —— . aS Sa POR SOLEARES This example demonstrates two different versions of the most traditional of all soleares falsetas. In the first and second measures of both compases, the Ist and 3rd fingers remain in place throughout the entire measure; the melody is played by the 2nd and 4th fingers. In the second compas, igato (slurred) melodies are added to the eraditional falseca. Be careful not to rush chese slurs. Some of flamenco’ most virtuosic passages can leave an audience breathless but actually are not all chat difficult to play. ‘This is illustrated in beats 7, 8, and 9 of the second compas (found in the 3rd bar of example 25 second system). This spectacular lick combines a right-hand arpeggio with flowing lefi-hand slurs, one of flamenco’ most popular and dazzling echniques. Place all fingers on beat 7, and hold them in position as long as possible chroughout the measure. pime p Li pimap. i pimap § pima papima oo pime py pimap pimam i p pamip ima 27 POR BULER(AS Here is the slur/arpeggio technique applied to bulerias. % 2 Tack Comis 2 1 23 4 5 6 7 8 wuk 12345 67 8 8 wh pi mapima mip = a em o623456 7890 1 23 4 5 678 9 wine s LESSON 10—ALZAPUA Alzapiia, 2 Gypsy word meaning “to raise the thumb,” is another electrifying flamenco technique. Alzapdia combines a single-line bass melody with an accompaniment of downstrokes and upstrokes on chords, all performed by the chumbl ‘The back of the thumbnail is used to execute the upstrokes. Alvaptia is used in a variety of contexts and can articulate many complex rhythms, but the following three movements are the essence of alzaptia technique: 1) Single note — ‘The melody note is always played apoyando. Ifthe single note is played on the Gth string, the chumb comes to rest on the Sth. 2) Downstroke — The downstroke begins without the chumb lifting away from the 5th string. The downstroke is an arc-like movement in which thumb just misses the Ist string. The stroke is propelled more by forearm roration than by thumb movement, 3) Upstroke — The back of the thumbnail hooks the strings in reverse of che same arc as the downstroke. Once again, forearm rocation turns the hand and chumb. 28 ALZAPUA POR SOLEARES ‘This is the most traditional of all soleares alzapiia falsetas. ALZAPUA POR BULERIAS Here, the bass melody is claborated with slurred figures between the down/up alzapiia strokes. (0ab th tb te th Sa Bo123 45 678 9M 123 45 6 78 9 wine 29 LESSON 11—FLAMENCO TREMOLO Flamenco memolo (in guitar music, this refers to rapidly repeated notes) completes the expressive range of flamenco guitar. ‘Iremolo answers the rhythmic fire of rasgueado with the guitar’ most singing melodie expression. Using a eechnique borrowed from classical guitar, Ramén Monwoya altered classical remolo co create anew technique, which many listeners find even more beautiful then its classical counterpart. Classical guitar tremolo divides each beat into four equal parts: bass note played with p, and three repeated melody notes played «rei, Flamenco tremolo adds an additional melody nove, tuming each beac inco an even quintuple fingered p-i-e-m-i x fp Classical Flamenco tremolo tremolo The flamenco tremolo has two distinct advantages over the classi slower tempo without sounding mechanical; and its uneven beat creating its essential illusion of an unbroken melodic line. : Tecan be played ata sion “Fools the ear,” One cannot rush mastery of tremolo, ‘The secret to a great tremolo is not speed but evenness. Vf you are in a hurry to learn tremolo, practice very slowly. Focus your aention on dividing each beat into five exactly equal parts. Once a perfectly even quintuplet is achieved, tremolo can easily be brought up to the desired tempo. POR ALEGRIAS This is a cremolo version of escobillas por alegrias 5

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