GIPSY GUITAR: RUMBAS, FLAMENCAS, AND MORE. 2 CD. DVD TABLATURE
Gipsy Guitar Value Pack
Rumba-Styles of the Flamenco Guitar
Series: Guitar
Publisher: Schott
Format: Book & CD & DVD Package
Author: Gerhard Graf-Martinez
RUMBA-STYLES OF THE FLAMENCO GUITAR
Gerhard Graf-Martinez deals specifically with the Hispanic American form of the varied flamenco, the Rumba Flamenca, in this volume. It is with this style of flamenco that groups such as the Gipsy Kings hit the international charts and which has become the epitome of the flamenco to many people. The author leads every interested guitar player safely into the world of the Rumba Flamenca, providing him with solo and accompanying techniques in the form of music, tablature and two brilliant CD recordings, plus a bilingual DVD in German and English.
Inventory #HL 49017548
ISBN: 9783795758929
UPC: 841886011588
Publisher Code: ED8396-01
Width: 9.25"
Length: 12.0"
92 pages
Gerhard Graf-Martinez
After the great success of his two-volume flamenco Guitar method, in this volume Gerhard Graf-Martinez deals specifically with the Hispanic American form of the varied flamenco: the Rumba Flamenca. It is with this style of flamenco that groups such as the Gipsy Kings hit the international charts and which has become the epitome of the flamenco to many people. In 'Gipsy Guitar', the author leads every interested guitar player safely into the world of the Rumba Flamenca, providing him with solo and accompanying techniques in the form of music, tablature and two brilliant CD recordings. Also available now is the bilingual DVD.
DEUTCH- ENGLISH
VORWORT
Der erfreulich groBe Erfolg meiner zweibandigen Flamenco-
Gitarrenschule (SCHOTT ED 8253/8254 - mit CD), hat zu
vielen Zuschriften aus dem In- und Ausland und zu sehr
positiven Kritiken der Fachwelt und Fachpresse gefUhrt. Dabei
wurde oft der Wunsch an mich gerichtet, den hispano-amerikanisch
beeinfluBten Bereich, speziell die Rumba ("Rumba flamenca")
und deren Derivate noch ausfUhrlicher zu behandeln.
Diesem Wunsch komme ich mit dieser Verbffentlichung gerne
nacho
· 'un wird besonders die "Rumba flamenca" sehr kontrovers
behandelt. FUr die einen gehort sie nicht zum Flamenco und
wird als sogenannte U-Musik abgetan. FUrandere, weniger im
Flamenco invo]vierte, ist sie der Inbegriff der Flamenco-
· lu ik. DarUber hinaus ist es Tatsache, daB viele "Flamencos"
auBerhalb Spaniens erst durch die Rumba zur "Hohen Kunst"
de Flamenco gekommen sind. Auch Paco de Lucfa war lange
Zeit nur in Flamencokreisen als Genie bekannt, bevor er
-el~ eite Bekanntheit durch seine legendaren Kompositionen
.Entre Dos Aguas" und "Rio Ancho" (aus dem spater im Duo
mit I di Meola "Mediterrean Sundance" wurde) erlangte.
Au h die Gipsy Kings, deren Rumbas zu internationalen Hits
wurden.lassen es sich nicht nehmen, im Konzert ihr Publikum
mit einem "Fandango Natural" zu konfrontieren. Zehntausende
horen in diesem Moment "echten" Flamenco.
(l>er multikulturelle Interventionen diesel' Art laBt sich zwar
rreiten. aber schlecht kann es fUr den Flamenco keinesfalls
in. E ei denn, man ware bemLiht moglichsL wenige in den
Bereich der Flamenco-Musik eindringen zu lassen, urn so den
ei moglichst elitar zu halten.
EinigeBemerkungen zu den Kompostitionen: Viele Flamencoill
ke und "Falsetas" (Melodiepassagen), die vor Jahrzehnten
. eiert wurden, gehoren heute zum Standard. Oft laBt sich nicht
zUJiick erfolgen, vom wem dies oder jenes ursprLinglich erhaffen
wurde - ganz ahnlich wie bei den "Volksliedern".
-\uch wurde Flamenco-Musik nie notiert und nie nach Noten
gelehrt und gelernt. Doch genau dieser Umstand hat dem
Flamenco bis heute seine Flexibilitat und Spontanitat bewahrt.
Eine ..Falseta·' immer gleich zu spielen mag zwar in der
toung phase normal sein, aber spatestens nach Uberwindung
der technischen HUrde wird sie selten immer wieder gleich
reproduziert. 1m Laufe der Zeit verandern sich Artikulation
und Phrasierung. und irgendwann kann sogar etwas ganz
· 'eue daraus entstehen. Dies war auch ein Problem bei den
ompo itionen dieses Buches. "Falsetas" und Melodien so
e tzulegen und zu arrangieren, daB alles reproduziert werden
-ann. war nicht immer einfach. Vor allem die improvisierten
Teile in den langsamen Versionen so nachzuvollziehen, wie im
Originaltempo. war mit einigem Ubungsaufwand verbunden
und Dicht immer bis ins kleinste Detail moglich - eigentlich
au b nicht beabsichtigt. Mit diesem Buch und den beiliegend
n CD wiinsche ich viel SpaB und hoffe, daB damit auch die
..afi ion" zum Flamenco wachst.
PREFACE
The welcome success of my two volume Flamenco Guitar
Method (SCHOTT ED 8253/8254 - with CD) resulted in many
letters being received from within Germany and abroad and in
positive reviews in the specialist publications and flamenco
circles. Many correspondents expressed the wish that I treat the
Latin American forms, especially the rumba ("Rumba flamenca")
and its derivatives, in greater depth. I welcome the
opportunity of fulfilling this wish in this publication.
However, the "Rumba flamenca" is a very controversial area.
Some do not recognise this music as belonging to Flamenco or
dismiss it as a superficial form, while others less involved with
Flamenco, regard it as the very embodiment of flamenco
music. It should be said that many "flamencos" outside Spain
first came to the "higher forms" of Flamenco through the rumba.
Paco de Lucia had long been recognised as a genius only in
flamenco circles before he achieved world wide popularity
with his legendary compositions "Entre Dos Aguas" and "Rio
Ancho" (which later became "Mediterranean Sundance" in his
duo with Al di Meola).
The Gypsy Kings too, whose rumbas became international
hits, do not shy away from confronting their audience with a
"Fandango Natural" in their concerts. In such moments tens of
thousands are able to hear "real" Flamenco.
It is possible to disagree about this kind of multicultural
intervention, but it cannot be bad for Flamenco. That is unless
one wishes to ensure that as few people as possible gain access
to flamenco music, and thus limit the circle to an elite.
Concerning the compositions - many flamenco pieces or
"falsetas" (solo music passages) which were created decades
ago are today considered standard works. In a similar way to
folk music it is often impossible to determine who originally
composed which piece. Moreover, Flamenco music was never
transcribed and has never been taught and learned through
reading music. It is exactly this situation. however. that has
preserved the great flexibility and spontaneity of Flamenco to
this day. At the practice stage it may be normal to playa
"falseta" in exactly the same way every time, but as soon as the
technical difficulties have been overcome, it is unusual to
reproduce it in the same form time after time. In the course of
time, various aspects such as articulation and phrasing change,
and it may even happen that at some time something completely
new emerges.
This situation, however, proved to be a problem with the
compositions in this book. It was not always easy to pin down
the form of the "falsetas" and melodies and to arrange them so
that they could be reproduced. Above all it required more than
a little practice to play the improvised sections in the slow
versions in the same way as in the original and it was not alway
possible, nor was it really my intention, to reproduce them
down to the finest detail.
I hope you enjoy this book and the accompanying CDs, and
that it will advance the "aficion" for Flamenco.
INHALT
Vorwort
Der Autor
Grundbegriffe
Kompositionen dieses Buches
La Rumba
Rhythmus-Muster 1
Rhythmus-Muster 2
Caballos Blancos
Tresillos 1
Golpe mit Mittelfinger
Rhythmus-Muster 3
La Habana de ida
Tresillos II
La Habana de vuelta
Rhythmus-Muster 4
La Morita
Rhythmus-Muster 5
Rhythmus-Muster 6
Sierra Blanca
CD Inhalt
Index
CONTENTS
Preface .
The Author .
Basic Elements .
The Compositions in this Book .
La Rumba .
Rhythm -Pattern 1 .
Rhythm- Pattern 2 .
Caballos Blancos .
Tresillos I .
Golpe with Middle Finger .
Rhythm-Pattern 3 .
La Habana de ida .
Tresillos II .
La Habana de vuelta .
Rhythm-Pattern 4 .
La Morita .
Rhythm- Pattern 5 .
Rhythm-Pattern 6 .
Sierra Blanca .
CD Contents .
Index .
Italiano
English
