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
Italiano
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