Paco De Lucia

PACO DE LUCIA ANTOLOGIA DE FALSETAS CD TABLATURE CHITARRA METODO SPARTITI LEIVA

PACO DE LUCÍA, ANTOLOGÍA DE FALSETAS DE. CD TABLATURE.

SHEET MUSIC BOOK WITH CD & GUITAR TABLATURE.
LIBRO DI MUSICA FLAMENCO CON CD,
SPARTITI PER CHITARRA CON : PENTAGRAMMA, TABLATURE.

Bulerías (Primera Época)
Paco de Lucía

Formato A4, 136 Páginas
Cifra y Nota
Transcripciones David Leiva

Colección realizada por David Leiva donde por primera vez se mostrarán las variaciones más importantes de la trayectoria profesional de Paco de Lucía. La cual abarcará todos los estilos principales como la soleá, siguiriya, alegrías, tientos, tangos, fandangos, bulerías, tarantas, etc.

Cada estilo está formado por 3 volúmenes, correspondientes a etapas de su vida. El autor ha clasificado la colección en tres épocas.

• Primera época: Inicios - Flamenco Tradicional
• Segunda época: Moderna
• Tercera época: Moderna - Contemporánea.

Las transcripciones de falsetas que incluye la antología se han extraído de obras de concierto de sus principales discos en solitario y de falsetas que encontramos en colaboraciones de discos de cantaores como Camarón y Fosforito, entre otros.

Esta serie comienza por el estilo de Bulerías primera época (1964 – 1977), con la transcripción de 73 geniales falsetas acompañadas de CD. Todos los audios de las falsetas incluidas en el CD están extraídos de discos originales cedidos por Universal. 

Prezzo: €47,99
€47,99

PACO DE LUCÍA ZYRYAB LIBRO TABLATURE CHITARRA SPARTITI GUITAR BOOK Playa del Carmen

PACO DE LUCÍA, ZYRYAB. SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

 

LIBRO DI MUSICA FLAMENCO, 

SPARTITI PER CHITARRA CON : PENTAGRAMMA, TABLATURE. 

 

A4, 240 páginas

Transcripción por  David Leiva

 

La editorial Flamenco-Live y David Leiva presentan el libro del maestro Paco de Lucía, ZYRYAB.

 

Zyryab, obra que revolucionó el flamenco de la época, Paco mostró con este trabajo que con diferentes elementos de Jazz, si se hace con sabiduría, encajan perfectamente con el flamenco. El maestro conectó al lenguaje flamenco más ortodoxo nuevas armonías, melodías y ritmos, elegidos cuidadosamente de este género, dando un aire totalmente renovador al flamenco. En esa misma época el famoso sexteto ya tenía una gran trayectoria y se aprecia perfectamente esta conexión y entendimiento en este trabajo.

 

Iincluye grandes temas como el propio Zyryab, que es uno de los temas más famosos del maestro. También incluye una joya histórica, la Bulería "Compadres”, compuesta e interpretada con otro grande, Manolo Sanlúcar. Un tema del que se ha transcrito íntegramente las dos voces.

 

Las ocho transcripciones del disco "Zyryab” están realizadas principalmente para guitarristas y se han realizado adaptaciones para guitarra de las partes de mandolina interpretadas por Carles Benavent y algunas partes de los vientos de Jorge Pardo, también se ha transcrito las melodías del cante de Pepe de Lucía y Potito. Las partes pianísticas de Chick Corea no se han realizado porque serían temas demasiados extensos en papel y este tipo de libros están destinados principalmente para guitarristas.

 

Las transcripciones están realizadas para una, dos y tres guitarras dependiendo del tema. Las piezas se muestran en nota y tablatura con digitaciones de ambas manos y dinámicas. La interpretación de Paco de Lucía es tan importante como su composición, en Zyryab despliega una gran maestría interpretativa.

 

 

Soniquete (Bulerías) 

Tío Sabas (Taranta)

Chick 

Compadres (Bulerías)

Zyryab

Canción de amor

Playa del Carmen (Rumba) 

Almonte (Fandangos de Huelva) 

Prezzo: €47,99
€47,99

PACO DE LUCÍA SIROCO GUITAR TABLATURE CHITARRA LIBRO SPARTITI BOOK Casilda

PACO DE LUCÍA, SIROCO. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

PACO DE LUCIA - TRANSCRIPCIÓN DAVID LEIVA

 

SHEET MUSIC BOOK WITH GUITAR TABLATURE. 

 

LIBRO DI MUSICA FLAMENCO, 

SPARTITI PER CHITARRA CON :

ACCORDI, PENTAGRAMMA, TABLATURE. 

 

 

Descripción

 

La editorial Flamenco-Live y David Leiva presentan el libro del maestro Paco de Lucía, SIROCO.

Obra flamenca de ocho piezas de creación sublime con una interpretación perfecta supone, sin lugar a dudas, un antes y un después para el flamenco, alcanzando unas cotas inimaginables de composición e interpretación hasta entonces.

 

Este libro está realizado principalmente para guitarristas pero cualquier instrumentista puede leer estas partituras. 

 

Las ocho piezas se muestran en nota y tablatura con digitaciones de ambas manos, golpes y dinámicas. 

 

La interpretación de Paco de Lucía es tan importante como su composición, despliega una maestría interpretativa sorprendente, resaltando unas notas y acariciando otras con pura delicadeza, dando a estas piezas y a la guitarra de concierto una nueva dimensión nunca vista. 

 

En la rumba “Caña de azúcar” también está transcrita la segunda guitarra y el cifrado de acorde. 

 

Cada pieza viene precedida de textos explicativos por el autor y esquemas armónicos y rítmicos. 

 

La Cañada (Tangos) 

Mi Niño Curro (Rondeña)

La Barrosa (Alegrías) 

Caña de azúcar (Rumba)

El pañuelo (Bulerías) 

Callejón del muro (Minera) 

Casilda (Tanguillos) 

Gloria al Niño Ricardo (Soleá)  

Prezzo: €49,99
€49,99

DE LUCIA PACO GUITAR TAB LIBRO TABLATURE ENTRE DOS AGUAS-AIRES DE LINARES- MI INSPIRACIÓN-EL TEMPUL

PACO DE LUCIA GUITAR TAB

Paco De Lucia Guitar Tab

LIBRO DI MUSICA PER CHITARRA CON TABLATURE.

arranger: David Leiva
Artist: Paco de Lucia

Instrumentation: guitar
Edition: performance book - Includes guitar tablature
Language: Spanish - English
ISBN: 978-84-387-1115-6

 

INTRODUCTION

This new book on the work of Paco de lucia collects transcriptions of his personal compositions and
also arrangements which he made of pieces by other composers.

This book contains transcriptions of pieces from the recordings "Fantasia Ramenca", "12 candones
e Garcia lorca" and "Paco de lucia y Ramon de Algedras en Hispanoamerica": Eight original popular
compositions by the great master like Guajiras de lucia and ElTempul, four arrangements of the songs
by lorca and the famous Tico -Ticofor guitar duo.

David leiva proposes a new way of presenting transcriptions for flamenco guitar. The pieces are
presented ina didactic way so that guitarists of different playing abmties can understand the material.
All of the transcriptions show the written notes, fingering for both hands, dynamics and phrasing, etc.
It is worth noting that these aspects which were commonly notated in the past are not usually included
in current guitar transcriptions. Paco de lucia's musical interpretation is equally important as his
compositions, he is recognized as the genius of flamenco guitar and to learn everything about him is
to learn flamenco guitar. This book presents the dynamics of the great master in order that we can
appredate his interpretative genius.

The new edition of this book includes the most popular song of Paco de luda, Entre dos aguas, which
originally was included in the album "Fuente y Caudal". Inthis transcript have been noted, all notes (notes
and tablature) the dynamics, accents, fingering, accompaniment chord diagrams, several rhythms of
rumba and the introduction of bass adapted for guitar, giving a new and enhanced transcription.

Paco de lucia's genius is not limited only to performance and composition. At the age of 18 together
with Ricardo Modrego he made superb arrangements of songs compiled by the poet Federico Garcia
Lorca, giving a great flamenco spirit to songs which we can consider as part of the classical Spanish
repertoire. They combined the prindpal melodies of those songs with personally composed flamenco
phrases (soled, bulenas, fandangos ... ). This revolutionized flamenco composition with the concept of
creating ideas from an initial melody and transforming it into a flamenco work of the highest level.

These songs are written here in two parts offering for didactic purposes works for duo, which are
currently very scarce in the market. In these pieces, fingerings and dynamics are included for both
guitar voices.

The book finishes with the transcription of the tune Tico-Ticopopularized by the great master together
with his brother Ramon de Algeciras. They performed this piece in a very flamenco way and with
impressive speed.

This book does not cover the accompaniment of flamenco song, another aspect for which Paco de
Lucia is renowned. However this is dealt with in the book "Camaron guitar tab with voice" which shows
the great accompaniment and the dialogue between the two great masters of flamenco of all time,
''Camaron de la Isla y Paco de lucia".

This book has been transcribed by David leiva, author of the collection "Metodo de cante y baile
ftamenco y su acompanamiento", "Suite de flamenco", "Camaron guitar tab with voice", "Combo
flamenco" and "Ramenco Guitar Rhythmic Method". All of this material is included in the collection
''Colecdon pedagogica del flamenco". ln the near future there will be more transcriptions and new
learning methods similar to this material.

Content

- ENTRE DOS AGUAS
- AIRES DE LINARES
- MI INSPIRACIÓN
- GUAJIRAS DE LUCÍA
- EL TEMPUL
- GENERALIFE BAJO LA LUNA
- FIESTA EN MOGUER
- LAMENTO MINERO
- CELOSA

PER DUE CHITARRE:

- ANDA JALEO
- LOS CUATRO MULEROS
- CAFÉ DE CHINITAS 
- LOS PEREGRENITOS
- TICO TICO 

Prezzo: €35,99
€35,99

LES MAITRES DE LA GUITARE FLAMENCA VOL.1 Worms Serranito Sanlucar Paco de Lucia CD TABLATURE LIBRO

LES MAITRES DE LA GUITARE FLAMENCA VOL.1. Worms. Serranito, Manolo Sanlucar, Paco de Lucia. CD TABLATURE

LIBRO DI MUSICA PER CHITARRA CON CD E TABLATURE.

Ce volume fait partie d'une série d'ouvrages consacrés aux grands maîtres du flamenco. Ces recueils vous permettront donc de vous familiariser avec le style des principaux maîtres de la guitare flamenca et ainsi de refaire le parcours des jeunes guitaristes contemporains, qui ont tous construit leurs propres falsetas à partir d'une connaissance approfondie de l'?uvre de leurs aînés. Pour ce premier volume, nous avons sélectionné les falsetas caractéristiques de 3 grands maîtres qui ont incontestablement marqué l'histoire de la guitare flamenca au XXème siècle : Francisco Sánchez Gómez "Paco de Lucía", Victor Monge "Serranito", Muñoz Alcón "Manolo Sanlúcar". Pour chacun de ces guitaristes, nous vous proposons dix falsetas essentielles (soleá, soleá por medio, siguiriya, tientos et fandangos) que vous retrouverez sur le CD joint à cet ouvrage. Ici, vous l'aurez compris, pas de bla-bla inutile, l'ouvrage est intégralement consacré à la musique en elle-même!

PACO DE LUCIA
Paco de Lucia est sans aucun doute l'artiste le plus emblématique du flamenco contemporain, le principal responsable de la diffusion mondiale du flamenco, bien au-delà du cercle restreint des "aficionados".
Francisco Sanchez Gomez "Paco de Lucia" est né à Algeciras en 1947. La famille est d'un milieu social très modeste. Le père de Paco multiplie les emplois occasionnels: estimable guitariste amateur, il part chaque nuit à la recherche de fêtes privées ("juergas") pour complèter les maigres ressources de la famille. Pour les Sanchez, le flamenco est d'abord un moyen de "s'en sortir" : deux de ses frères deviendront aussi musiciens professionnels, son ai né Ramon de Algeciras guitariste, et son cadet Pepe de Lucia chanteur.
Paco doit quitter l'école à neuf ans et opter pour un métier ou étudier la guitare huit à dix heures par jour ... Sa virtuosité dépasse rapidement celle de ses premiers maîtres, son père, Nino Ricardo (un ami de la famille) et son frère Ramon, qui lui enseigne de nouvelles falsetas à chaque retour de tournée (les deux frères jouent d'ailleurs les mêmes falsetas, empruntées à Nino Ricardo ou composées par Ramon, dans leurs premiers enregistrements en accompagnement d'une multitude de cantaores).
A douze ans, Paco accompagne son frère Pepe pour un concours de chant à Jerez: premier prix de chant, et le jury doit créer une mention spéciale pour Paco, trop jeune pour participer au concours.
Les deux frères sont immédiatement repèrés par Hispavox qui les enregistre sous le nom de "Chiquitos de Algeciras". Paco est engagé comme second guitariste par José Greco, qui dirige l'une des meilleures troupes de danse flamenca du moment, et part en tournée aux USA (le premier guitariste de la compagnie est Ricardo Modrego, avec lequel il enregistrera plusieurs disques en duo).
Suivent plusieurs tournées européennes avec le "Festival flamenco gitano" des imprésarios Lippman et Rau, au cours desquels il travaille notamment avec Camaron de la Isla: début d'une longue collaboration qui donnera au flamenco l'un de ses meilleurs duos chant / guitare, et une dizaine de disques mythiques entre 1969 et 1977 ("Castillo de Arena").
Au cours de sa tournée aux USA avec José Greco, Paco a rencontré Sabicas qui l'a vivement encouragé à composer, ce dont il ne se croyait pas capable ...! "La fabulosa guitarra de Paco de Lucia" parait en 1967, avec neuf compositions originales et une reprise de Mario Escudero ("Impetu") : premier jalon d'une Tmuvre discographique qui va profondément marquer l'histoire de la guitare flamenca.
En se basant sur cette discographie, il est possible de diviser l'évolution musicale de Paco de Lucia en trois périodes: 
- 1967/1973 ("Fuente y caudal") : la période "classique", marquée par les influences de Nina Ricardo et Ramon de Algeciras pour les lignes mélodiques, Sabicas pour la rigueur rythmique et les accords dissonants (cordes à vide superposées aux accords de base), et Mario Escudero pour l'harmonie (systématisation des accords de passage et usage de neuvièmes, treizièmes ...). Le génie de Paco réside dans sa capacité à fondre ces diverses influences en un langage très personnel, et surtout dans son inspiration mélodique inépuisable (il est l'un des rares guitaristes, avec Nino Ricardo et Esteban de Sanlucar, dont on puisse chanter les falsetas). Notons aussi que pendant cette première période, Paco de Lucia continue à accompagner un grand nombre de chanteurs: ses meilleurs réussites en ce domaine sont ses collaborations avec les cantaores les plus rythmiquement précis, notamment Nino de Barbate, Chato de la Isla, El Lebrijano, Fosforito et, bien sûr, Camaron. - La période 1973/ 1981 ("Solo quiero caminar") est une phase de transition. Pour "fuente y caudal", Paco avait enregistré la fameuse rumba "Entre dos aguas" avec une basse et des percussions. Les rencontres ultérieures avec Larry Coryel, Carlos Santana, John Mc Laughlin, AI di Meola ... l'amènent à jouer de plus en plus en se posant sur une rythmique, et à tenter d'improviser sur une trame harmonique (deux choses absolument nouvelles pour la guitare flamenca). "Libéré" des contraintes du jeu en solo, n'ayant plus à assurer les ponctuations harmoniques ni un cadrage audible des cycles métriques du compas (rôles dévolus à la basse et aux percussions), son jeu y gagne en fluidité ce qu'il y perd en polyphonie: il peut dès lors phraser comme un chanteur. Le résultat de ces expériences sera la création d'un premier "sextet", avec Ramon à la guitare "rythmique", Pepe au chant, Jorge Pardo à la flûte et au sax, Caries Benavent à la basse, et Rubem Dantas aux percussions (ces trois derniers venus du jazz). La structure des morceaux s'apparente à celles du jazz (thèmes, "chorus" ...) et la composition du groupe oblige aussi Paco à se préoccuper du son, tant pour les concerts que pour les enregistrements (amplification, réverb ...). Paco doit aussi repenser l'accompagnement, en particulier pour les solos de flûte et de sax : les rasgueados sont moins fréquents, souvent remplacés par des ponctuations harmoniques jouées au pouce et imitant la sonorité de guitaristes de jazz comme Wes Montgomery. Cette nouvelle manière d'accompagner sera ensuite aussi utilisée pour le chant, et est devenue un tic de langage dont usent (et parfois abusent...) tous les jeunes guitaristes actuels.
- 1981 /1998 : avec "Siroco" (1987), Paco revient au jeu en solo, mais en y intégrant les innovations de la période précédente: le discours musical se déploie en longues lignes mélodiques, ignorant le plus souvent le morcellement en falsetas distinctes et les "barres de compas".

PACO DE LUCIA: SOLEA -SOLEA POR MEDIO -SIGUIRIYA -TIENTOS -FANDANGOS

SERRANITO: SOLEA -SOLEA POR MEDIO -SIGUIRIYA -TIENTOS -FANDANGOS

SANLUCAR: SOLEA -SOLEA POR MEDIO -SIGUIRIYA -TIENTOS -FANDANGOS

Prezzo: €22,99
€22,99

DE LUCIA PACO-ALMORAIMA-TABLATURE SPARTITI LIBRO CHITARRA RIO ANCHO FLAMENCO MUSICA

DE LUCIA PACO, ALMORAIMA. BOOK WITH TABLATURE

LIBRO DI MUSICA FLAMENCO. 

SPARTITI PER CHITARRA CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

Transcripción por el maestro Enrique Vargas, director de la colección "Biblioteca Grandes Guitarras Flamencas de Hoy", quien ha afrontado la tremenda dificultad de transcribir de forma fiel y pormenorizada una obra de tamaña complejidad e importancia.

Paco de Lucía, emplea en "Almoraima" varias innovaciones sin precedentes hasta la fecha: Cada uno de los ocho temas del disco tienen más de una, y a veces hasta cinco pistas de guitarra; bajo eléctrico; percusión; una pista de guitarra tapá y, de vez en cuando, laúd y cante. Todos estos elementos han dificultado tremendamente la tarea de la transcripción. A pesar de ello, el maestro Enrique Vargas ofrece en cada tema diferentes soluciones siempre con la máxima fidelidad al original.

Todas las piezas son perfectamente ejecutables tanto para un solo como para un dueto (con excepción de la rumba y sevillanas que sólo son aptas para dueto). Cada tema viene además precedido por anotaciones explicativas bilingües castellano/inglés. Las partituras están presentadas en solfeo y en cifrado. Tanto las digitaciones de ambas manos como los matices dinámicos y técnicos se presentan de la forma más pormenorizada posible.

A continuación, una descripción técnica de cada partitura de esta obra.

Almoraima, (Bulerías)
En esta pieza se han transcrito las partes más importantes de la segunda guitarra y el bajo. Donde la segunda guitarra se limita a tocar acompañamiento genérico se ofrecen símbolos armónicos. La pista de laúd, interpretada por el maestro Paco de Lucía ha sido transcrita íntegramente. Esta pieza es apta para solo y dueto.

Cueva del Gato, (rondeña)
La parte de la guitarra de acompañamiento interpretada por Ramón de Algeciras está transcrita íntegramente lo que hace la pieza ideal tanto para un dueto como para un solo.

Cobre, (sevillanas)
Este tema es un dueto donde la guitarra principal interpreta cada sevillana en una tonalidad y, a veces, afinación distinta. La segunda guitarra mantiene la misma afinación sin cejilla, es decir, al aire. En la tercera copla de cada sevillana el maestro Paco de Lucía grabó la segunda pista del solo haciendo una especie de contrapunto con la guitarra principal. Esta segunda pista también ha sido transcrita íntegramente.

A la Perla de Cádiz, (cantiñas)
En esta pieza se han transcrito las partes más importantes de la segunda guitarra. Donde el acompañamiento es genérico se suministran símbolos armónicos. En la parte final el maestro Paco de Lucía desarrolla una brillante improvisación sobra la salida del cante por cantiñas . La melodía de esta salida ha sido transcrita para que sirva de referencia y también por si se desea interpretarla utilizando voces u otros instrumentos musicales. Apto tanto para solo como para dueto.

Olé, (jaleos)
A pesar de ser un dueto con las dos guitarras transcritas íntegramente, esta pieza es perfectamente ejecutable como un solo de guitarra.

Plaza Alta, (soleá)
Al final de este tema entra la segunda guitarra cuyas partes más importantes han sido transcritas íntegramente y en las partes genéricas se ofrecen símbolos armónicos. Puede ser interpretada como solo y como dueto.

Rio Ancho, (rumba)
Esta conocidísima rumba se presenta en el siguiente formato: la guitarra principal; las partes más importantes de la segunda guitarra y los símbolos armónicos.

Llanos del Real, (minera)
En la parte final de esta pieza entran la segunda y tercera guitarra que han sido transcritas íntegramente.

Formato A4
307 Páginas

At last, a long-awaited transcription book of the emblematic CD Almoraima by Paco de Lucía published by Gestión de Lucía (the artist management company) has arrived. This time the author of these charts has been no other than maestro Enrique Vargas, also the director of the collection The Great Flamenco Guitars of Today Library, who had to face the tremendous difficulty of transcribing accurately every little detail of this historic work of art.

In the process of an intense search for a new expressive melodic, structural and harmonic forms in flamenco, the genius guitarist from Algeciras implements in Almoraima various innovations unprecedented for the times: every one of the eight cuts of the CD has more than one - and some times up to five - guitar tracks; electric bass; percussion; a muted guitar track, and, sometimes, oud and singing. All of these elements made the task of transcribing this work tremendously difficult. In spite of this, maestro Enrique Vargas offers in every piece the solutions based on maximum fidelity to the original.

All of these pieces are perfectly playable by solo guitar and a duo (with the exception of the rumba and sevillanas than are only suitable for a duo). Every piece is preceded by annotations in Spanish and English. The charts are presented in notation and tab. The fingerings for both hands and dynamic and technical characteristics are explained in the smallest detail.

Contents:

"Almoraima" (bulerias)
In this piece the most important parts of the second guitar and the bass have been transcribed entirely. Where the second guitar plays generic accompaniment the chord symbols are provided. The oud track recorded by maestro Paco de Lucía has been transcribed entirely. This piece is playable as a solo as well as a duo.

"Cueva del Gato" (rondeña)
The guitar accompaniment played by Ramón de Algeciras has been transcribed entirely, which makes this piece ideal for a duo as well as a solo.

"Cobre" (sevillanas)
This piece is a duo where the main guitar interprets each sevillana in a different key and, sometimes, different tuning. The second guitar maintains the same tuning without a capo. In the third copla of each sevillana maestro Paco de Lucia recorded a second solo guitar track which does a sort of counterpoint with the main guitar. This track is also been transcribed.

"A la Perla de Cadiz" (cantiñas)
In this piece the most important parts of the second guitar have been transcribed. Where the accompaniment is generic chord symbols are supplied. In the final part of this piece maestro Paco de Lucía plays a brilliant improvisation over a sang melody that has been transcribed to be used as a reference or played by some other musical instrument if so desired. Can be played as a solo as well as a duo.

"Ole" (jaleos)
Despite this piece being a duo with both guitars completely transcribed, is perfectly playable as a solo, too.

"Plaza Alta" (soleá)
In the final part of this piece enters the second guitar whose more important parts have been transcribed entirely. In the generic parts chord symbols are supplied. Can be played as a solo as well as a duo.

"Rio Ancho" (rumba)
This famous rumba is presented as a guitar duo with the accompaniment explained and transcribed in its most important parts. Chords symbols are supplied throughout the whole piece.

"Llanos del Real" (minera)
In the final part of this piece enter the second and third guitars that also have been transcribed.

 

 

Thirty five years have passed since I saw for the first time on a black and white screen of an ancient TV set a
young man, almost a teenager with a face of angel who, with the exuberance of youth, was doing the unthinkable on the guitar. Those brief moments impacted my life forever, making me embark on a journey I still pursue.
Since then I've known other styles of music; have enjoyed the enormous genius of Bach and cool elegance
of Miles Davis, beauty and sophistication of Indian raga .... Nevertheless, the music of the genius maestro
from Algeciras impacts me today as it impacted me for the firs time, those many years ago. Time left its white marks in my hair and changed the expression of the maestro's eyes, transfonning the youthful exuberance of his music into quiet and somewhat sad wisdom (what kind of wisdom isn't somewhat sad?) of maturity.
ow, by the Providence of the Lord, the time has come for me to render my homage to the maestro with this
humble work, thanking him for so much joy and so many tears, so many sleepless nights with a good Rioja
and the sound of his guitar, whether solo or with a group, or with another immortal genius from Cadiz, Jose
onge Cruz, Camaron de la Isla.
Every genre, every field of human activity renders every now and then an incomparable genius who, with his
arrival to the scene, changes everything and after that nothing is the same anymore. Their work transcends
the confines of space-time continuum and becomes immortal, blending itself into the endless Sea of the
beauty and harmony of the Creator. I've been fortunate enough to share the planet with one of them.
Francisco Sanchez Gomez. Paco de Lucia.
The sound in the Eternity ... The Eternity in the sound ... The great poet Joseph Brodsky dedicated the
following laconic but beautiful words to Bach:
Good morning, says Bach
Good morning, says God
I like to think that the poet could have said something like that about the guitarist form Algeciras:
Paco de Lucia played, inspired
God and Bach were moved,
They were teary-eyed
Enrique Vargas Molina, Madrid, 2008
Prezzo: €79,99
€79,99

DE LUCIA PACO-FUENTE Y CAUDAL-TABLATURE CHITARRA SPARTITI LIBRO Entre dos aguas FLAMENCO

DE LUCIA PACO, FUENTE Y CAUDAL. TABLATURE

LIBRO DI MUSICA FLAMENCA. 

SPARTITI PER CHITARRA. 

ACCORDI, PENTAGRAMMA E TABLATURE. 
 

Partitura en nota y cifra transcritas por Juan Manuel Cañizares.
Temas:

FOREWORD

This book is the transcription of the work "Fuente y Caudal" of the master Paco
de Lucia, in which the rhythms, harmonies and melodies are gathered of deep
way. Basically it is written for guitar but not for that reason exclusively for
guitarists. Instrumentalist of different instruments and styles they could also use
it, since when containing harmonic coding, the themes songs could be
interpreted by different musicians in formation instrumental.
One of my priorities when transcribing these works has been to be most faithful
possible to the interpretation that the master Paco de Lucia made in the
recording of "Fuente y Caudal". In order to obtain this intention I have used
myself new symbols that at its moment I will explain widely. I believe that these
symbols and the concept that there is behind such, will help the guitarists what
is passing in both hands when making different musical passages. In certain
way this book could be considered a hidden "treaty" of flamenco technique.
At no moment I have tried to reflect in the stave the soul of musical notes (it
would be an impossible work) but I think to have approached myself enough to
the dynamic movement of both hands in its flight by the mast.
Music is a language and as so it is learned by imitation. I firmly recommend
imitating the shades of meaning (not only the notes) of the master Paco de
Lucia in the original recording. To play jointly with the disc is an excellent
method to obtain this intention.
In the "free" touches as taranta "Fuente y Caudal" and the granafna "Reflejo de
la Luna" is advisable to imitate the rhythmical space, to give character and
structure to these touches. There are things that musically cannot be written
and single they are had outside the score, in these cases of listening to the
recording is indispensable.
The education of the musical ear is of a high importance for a musician. A good
exercise which I advise is that before reading the score, to try to remove from
ear one melody or any part that wishes of the original recording, to make their
own transcription and soon they compare it with the transcription of this book.
I want to thank to the teacher Ramon de Algeciras and my friend Juan Estrada
to make this great project and for his patience. Also, thanks to Mariko Ogura to
copy and to order all the manuscripts and to design and to organize all the
material contained in this book.
Special thanks to the master Paco de Lucia for entrusting totally me to
transcribe this work. From very young I began to play its music, soon I had the
honour to share during many tours, scenes and recordings next to him. Thanks
to all those wonderful experiences I have learned many things that have
enriched my musical life for better.
June 2005
Juan Manuel Caiiizares
 

Product Description:
Third in a series of OFFICIAL chronological transcriptions of the recordings of renowned flamenco guitarist Paco de Lucia, this book presents eight pieces from his album, Fuente y Caudal de Paco de Lucia. Meticulously transcribed in standard notation and tablature, selections include: Entre dos agues; Aires choqueros; Reflejo de Luna; Solera; Fuente y caudal; Cepa andaluza; Los Pinares and Plaza de San Juan. A foreword, explanation of notation symbols, helpful tips and generous performance notes are provided in English, Spanish and French.

Entre dos aguas (Rumba)
Aires choqueros (Fandangos de Huelva)
Reflejo de luna (Granaína)
Solera (Bulerías por Soleá)
Fuente y caudal (Taranta)
Cepa andaluza (Bulerías)
Los pinares (Tangos)
Plaza de San Juan (Alegrías).

Formato A4
220 Páginas

Prezzo: €65,99
€65,99

DE LUCIA PACO, FANTASIA FLAMENCA. TABLATURE

DE LUCIA PACO, FANTASIA FLAMENCA. Aires de Linares -Mi inspiración -Guajiras de Lucía -Mantilla de Feria -El tempul -Panaderos flamencos, Generalife bajo la luna -Fiesta en Moguer -Lamento Minero -Celosa. Testo en Español, inglés e francés. TABLATURE

Prezzo: €55,99
€55,99

DE LUCIA PACO LA FABULOSA GUITARRA DE-TABLATURE LIBRO SPARTITI CHITARRA FLAMENCO

DE LUCIA PACO, LA FABULOSA GUITARRA DE. TABLATURE

LIBRO DI MUSICA FLAMENCA.

SPARTITI PER CHITARRA: PENTAGRAMMA E TABLATURE. 

Paco de Lucía applied modern harmony to the flamenco guitar, exerting a huge influence on the flamenco world. He also advanced guitar technique and established the cajon, a boxlike Peruvian percussion instrument, as a mainstay in flamenco ensembles, further elaborating and solidifying the rhythmic foundation and influencing all facets of the flamenco art form, be it dance (baile), song (cante) or guitar performance (toque). This volume marks the first in a series of collections of chronologically transcribed recordings by this consummate guitarist; It presents works from his first recording, La fabulosa guitarra de Paco de Lucía including: Barrio la viña -De madruga -Farruca de Lucía -Ímpetu -Jerezana -Llanto a Cádiz -Punta del Faro -Punta Umbría. Every effort was made to accurately render this music in standard notation and tablature ultimately approved by the artist himself. A foreword, explanation of notation symbols, and generous performance notes are included in Spanish, English and French.

 

 

We recommend, even for a trained musical reader, to look both stave and tablature because one
is complementary to the other. Stave let us value the «tempo», measure and timing of each note.
and tablature tell us which part of the fingerboard the artist is playing on.
It is also very interesting to observe the fingering used in each piece. Two main reasons:
Right fingering is almost essential to achieve a good performance and to obtain the «flamenco
sound». The second reason is that the transcription becomes a «true» method of learning flamenco
guitar if fingering is performed as the stave says. We believe that anyone who learns to
play «Punta del faro» as it is shown in the book, is able to play the «bulerias» style, and the
same thing may be said about the other pieces.
In flamenco music, tremolos are played in groups of four notes in the same string preceeded
by a low note played with the thumb. That makes a sequence of five sounds in one beat
(p-i-a-m-i), so this technique is performed in quintuplets. (for the english readers, p=thumb,
i=index, m=middle finger, a=ring finger). These three fingers must not rest on the next string
after playing, (<<apoyando»technique). The thumb may do it to emphasize a note, but we do
not recommend it because you'll get a better sound and a more homogeneus playing with the
«tirando» technique. Arpeggios must be played in the same way, (<<tirando»),as in the classical guitar.
To get a good sound in the «rasgueos» (strums), it is important that our fingers strike the
strings individually. This means that a finger does not «attack» the strings until the one before
has not finished its stroke. Let us say two little «tricks» which will help us to get a better rasgueo
sound. On one side, it is preferable to play on the strings «striking», better than «rubbing
», so, the sound will be shorter and more percussive; on the other side, we must not try to
play ALL the strings of the chord, this is not so important, but we should have in mind that the
strums played with an indexstroke must have the same force and sound volume in both directions, up or down.
It's also important to practise the p. a. i. Rasgueo, (in Spanish, it is called abanico. =fan).
This type of rasgueo has three strokes: first, the thumb nail strikes from high to lower strings
J.., second, the ring finger strikes from low to high strings t, and third, the index strikes from
low to high strings too t. Our wrist must be very relaxed to get a «round» and homogeneus sound.
Percussive taps on the soundboard x are made with the ring finger in the pickguard, between
the rose and bridge. They can be studied in three main different ways: one is doing it simultaneously
with a index stroke rasgueo from low to high strings, another one is the same but
using a thumbstroke instead of the index, and finally we can practise it individually, without
other finger movement.
The Alzapua is a thumb technique with three movements: 1.- bass note thumbstroke, 2.-low
to high strings thumb stroke t, 3.- high to low strings thumb stroke J... Sometimes this technique
begins in the second movement. (this second one can be accompanied by a tap in the
soundboard). To obtain a «clean» sound with the alzapua, it is necessary to rest the thumb on
the next string under the played one on the first thumbstroke, (bass note). The thumb joints
should be blocked to let all the finger muscles work together against the strings (the force increases).
As we have said before, we should not attack all the strings, it is better to do it with
less of them, we will get a more percussive sound.
Prezzo: €59,99
€59,99

PACO DE LUCIA JOHN MCLAUGHLIN LARRY CORYELL MEETING OF THE SPIRITS LIVE CONCERT ALBERT HALL DVD

MCLAUGHLIN, CORYELL, DE LUCIA, MEETING OF THE SPIRITS, Live in concert at the royal Albel Hall, february 14, 1979. DVD CONCERT

DVD CONCERTO .

Mediterranean sundance/entres Dos Aguas -Lotus Feet -Morning of the Carnival -A Meeting of the Spirits -Guardian Angels.

DESCRIPCIÓN: Concierto de estos tres artistas en los años 1979-80. Contiene: Entre dos Aguas, Lotus Feet, Morning of the Carnival, Meeting of the Spirits y Guardian Angels.
Duración aproximada: 55 minutos. Incluye Biografías y Discografías.

McLaughlin, Delucia, Coryell - Meeting of the Spirits

Series: Live/DVD
Publisher: MVD
Format: DVD
Artist : John McLaughlin
Artist : Larry Coryell
Artist : Paco Delucia

In 1979 and 1980 three world renowned guitarists, recognized as the finest exponents of their individual styles - John McLaughlin, Larry Coryell and Paco De Lucia - formed a guitar super-trio and toured Europe. The spell-binding quality of the music that the collaboration created as an ensemble and the dazzling audience reaction to the performances has never been surpassed and has rightfully passed into Jazz folklore. At long last an original, authenticated master of the concert is available for a worldwide audience to experience how the legend that was a "Meeting of the Spirits" was made. Songs performed include: Entres dos Aguas - Lotus Feet - Morning of the Carnival - Meeting of the Spirits - Guardian Angels. 55 minutes.

These three world renowned guitarists formed a guitar trio and toured Europe in 1980. This live performance DVD captures John McLaughlin, Larry Coryell, and Paco DeLucia on stage and at their best.

Prezzo: €19,99
€19,99
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