SYSTEMATIC STUDIES FOR FLAMENCO GUITAR. Serrano. 447 Pagine, 10 sevillana, 10 alegrial por arriba, 10 alegrias por medios, 10 bulerias, 10 colombianas, 10 fandangos, 10 farrucas, 10 granainas, 10 romeras, 10 siguiriyas, 10 soleares, 10 tangos, 10 tarantas. SHEET MUSIC BOOK WITH 2 CD & GUITAR TABLATURE.
447 PAGES !
LIBRO DI MUSICA FLAMENCO CON 2 CD.
SPARTITI PER CHITARRA :
PENTAGRAMMA, TABLATURE.
447 PAGINE .
A FALSETA ANTHOLOGY
Product Description:
This masterful, comprehensive book presents ten Sevillanas plus ten falsetas of each of the following popular and traditional flamenco forms: Alegrias por Arriba, Alegrias por Medio, Bulerias, Columbianas, Fandangos, Farrucas, Granainas, Romeras, Siguiriyas, Soleares, Tangos, and Tarantas. This landmark text presents the systematic development of Flamenco tech- nique. Each of the dance forms contains performance notes & a brief history. In English & Spanish and written in standard notation and tablature. Includes companion 2-CD set.
INTRODUCTION
All of the flamenco forms are based on one traditional rhythmical phrase of 8 or 12 beats (musically 3/4,4/4, or 3/4 and 6/8). The rhythmical flamenco phrase is called compas. The melodic themes that are played between each compas are calledjalsetas. A falseta can be composed of several flamenco compases. The flamenco selections are composed of its traditional compas with some rhythmical variations and several falsetas. Between falseta and falseta the compas or one of its variations is played.
The falsetas melodically are all different and are composed of different techniques, tremolos, picados arpeggios, rasgueados and different chords.
Almost all of the flamenco aficionados know which is the compas of each form and how to play it. Many prefer not to play compositions of other guitarists, but they prefer to learn many new falsetas in order to make their own arrangements.
This book is composed of 10 Sevillanas and 10 falsetas of each one of the most popular and traditional of the flamenco forms: I
i Sevillanas, Alegrfas por Ar1iba, Alegr{as por Medio, Bulerfas, Colombianas, Fandangos, Farrucas.
Granainas, Romeras, Siguiryyas, Soleares, Tangos and Tarantas .
All of the falsetas can be used as technical studies. Each falseta is equivalent to one study. It is recommended that each of the falsetas be practiced very slowly, following the fingering marked in each, so that the fingers memorize the order that they must follow. Thus, the synchronization of the two hands can be perfected and the falsetas can be played with more ease.
There are many flamenco guitarists that play the notes very clearly with a good sound. These guitarists are called "clean guitarists" (clear) within the flamenco world. There are others that are good musicians and have a very good sense of rhythm, but do not have a good technique. The notes sound sloppy. These guitarists are called "dirty guitarists" (sloppy) in the flamenco world.
It doesn't matter what type of music is played, jazz, classical or flamenco. All of the notes should sound clear with each one having its musical value.
Note Falsetas are the melodic phrases that are played between compas and compas. Compas is the rhythmical phrase that is played between falseta and falseta.
SYMBOLS
• The numbers 1 - 2 - 3 - 4, signify the fingers of the left hand.
• The letters P - I - M - A - S signify the fingers of the right hand.
• The Roman numerals designate the position, I - II - III etc.
• A letter C preceding a Roman numeral signifies Barre: CI - CII - CIII etc.
• The numbers in circles designate the strings. For example, a three in a
circleG)
means the
note played on the third string, a four @) fourth string etc.
TRANSLATIONS FOR MUSIC AND TABLATURE
Freestroke ----Tirando
Reststroke ----Apoyando
Scale ------Picado
Format: Book/2-CD Set
Contents:
01) Introduction --
02) Sevillanas --
03) Alegrias Por Arriba --
04) Alegrias Por Medio --
05) Bulerias --
06) Colombianas --
07) Fandangos --
08) Farrucas --
09) Granainas --
10) Romeras --
11) Siguiriyas --
12) Soleares --
13) Tangos --
14) Tarantas
INTRODUCTION
All of the flamenco forms are based on one traditional rhythmical phrase of 8 or 12 beats (musically 3/4, 4/4, or 3/4 and 6/8). The rhythmical flamenco phrase is called compas. The melodic themes that are played between each compas are calledjalsetas. A falseta can be composed of several flamenco compases. The flamenco selections are composed of its traditional compus with some rhythmical variations and several falsetas. Between falseta and falseta the compas or one of its variations is played.
The falsetas melodically are all different and are composed of different techniques, tremolos, picados arpeggios, rasgueados and different chords.
Almost all of the flamenco aficionados know which is the compus of each form and how to play it. Many prefer not to play compositions of other guitarists, but they prefer to learn many new falsetas in order to make their own arrangements.
This book is composed of 10 Sevillanas and 10 falsetas of each one of the most popular and traditional of the flamenco forms:
Sevillanas, Alegrias por Arriba, Alegrias por Medio, Bulerias, Colombianas, Fandangos, Farrucas,
Granamas, Romeras, Siguiras, Soleares, Tangos and Tarantas
All of the falsetas can be used as technical studies. Each falseta is equivalent to one study. It is
recommended that each of the falsetas be practiced very slowly, following the fingering marked in each, so that the fingers memorize the order that they must follow. Thus, the synchronization of the two hands can be perfected and the falsetas can be played with more ease.
There are many flamenco guitarists that play the notes very clearly with a good sound. These guitarists are called "clean guitarists" (clear) within the flamenco world. There are others that are good musicians and have a very good sense of rhythm, but do not have a good technique. The notes sound sloppy. These guitarists are called "dirty guitarists" (sloppy) in the flamenco world.
It doesn't matter what type of music is played, jazz, classical or flamenco. All of the notes should sound clear with each one having its musical value.
Note Falsetas are the melodic phrases that are played between compas and compas. Compas is the rhythmical phrase that is played between falseta and falseta.
SYMBOLS
• The numbers 1 - 2 - 3 - 4, signify the fingers of the left hand.
• The letters P - I - M - A - S signify the fingers of the right hand.
• The Roman numerals designate the position, I - II - III etc.
• A letter C preceding a Roman numeral signifies Barre: CI - CII - CIII etc.
• The numbers in circles designate the strings. For example, a three in a
circle G) means the note played on the third string, a four 4 fourth string etc.
TRANSLATIONS FOR MUSIC AND TABLATURE
Freestroke ----Tirando
Reststroke ----Apoyando
Scale ------Picado
SEVILLANAS
Sevillanasare one of the most popular forms of the flamenco music. One complete Sevillana set is composed of four coplas; that is, four different Sevillanas-ealled 1st, 2nd, 3rd, and 4th. The reason is that the Sevillanas are danceable and each of them is adapted to the choreography of the dance. The complete dance is divided into four parts. The choreography of the dance is based on the rhythm, not the melody, therefore the order of the 4 Sevillanas that are in the composition can be interchanged.
This section is composed of 10 different Sevillanas in tone and melody. The order is in a progressive form in technical difficulty (advancement).
It is recommended learning all of the 10 Sevillanas; then playing the four that are liked best and interchanging them in any order. It is also recommended that the second not be attempted until the first is mastered and so on.
although the compas and the musical form of all of the Sevillanas are the same, the techniques and melodies are completely different in each one of them; therefore when the 10 Sevillanas are learned, it will be much easier to master the rest of the falsetas that make up this book.
The Sevillanas are measured in 3/4. A flamenco compas has 6 beats equivalent to 2 measures of 3/4.
SEVILLANAS
Las Sevillanas son unas de las formas mas populares entre la musica flamenca. Una composici6n completa de sevillanas consiste en cuatro copIas, 0sea, cuatro Sevillanas diferentes que se les llama primera, segunda, tercera y cuarta. La razon es porque las Sevillanas son bailables y cada una de elIas esta adaptada a la coreograffa del baile.
La danza completa esta dividida en cuatro partes. Las coreograffas del baile estan basadas en el ritmo y no en la melodia. Por 10 tanto, el orden de las cuatro Sevillanas que se esten usando en la composici6n puede ser cambiado a la conveniencia del guitarrista que las interprete.
Esta eccion de Sevillanas se compone de diez Sevillanas diferentes en tonos y melodfas. El orden esta en una forma progresiva en dificultad tecnica.
recomiendo que los estudiantes aprendan las diez Sevillanas y asf podran tocar las cuatro que mas les gusten y podran cambiar el orden a su conveniencia y gusto. Tambien recomiendo que hasta que no hayan aprendido bien la primera, no empiecen con la segunda y 10 mismo con todas las siguientes.
Aunque el compas y la forma musical de todas las Sevillanas es igual, las tecnicas y las melodfas son completamente diferentes en cada una de elIas. Por 10 tanto, cuando hayan aprendido estas diez Sevillanas les sera mucho mas facil el aprendizaje de todas las demas formas que componen este libro.
todas las Sevillanas se miden en tiempo de 3/4. El compas flamenco se compone de seis tiempos equivalente ados compases musicales de 3/4.
Italiano
English
