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.
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Articolo: 5056
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