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
Tested and certificated by Paco de Lucía, in persona.
Product Description:
Second in a series of “official” chronological transcriptions of the recordings of renowned flamenco guitarist Paco de Lucía, this book presents ten pieces from his second album, Fantasía flamenca de Paco de Lucía. Meticulously transcribed in standard notation and tablature, selections include: Aires de Linares, Mi inspiración, Guajiras de Lucía, Mantilla de feria, El Tempul, Panaderos flamencos, Generalife bajo la Luna, Fiesta en Moguer, Lamento minero, and Celosa. A foreword, explanation of notation symbols, helpful tips and generous performance notes are provided in English, Spanish and French.
Product Number: 901310315
Format: Book
ISBN: 9790901310315
UPC:
ISBN13: 9790901310315
Series: RGB ARTE VISUAL
Publisher: RGB ARTE VISUAL
Date Published: 5/27/2004
FOREWORD
These last twelve months have been extraordinary. My work as a guitarist have been very intense. I went to the Persian Gulf representing Spain in a crowded festival as a member of a Flamenco Group from Cadiz. This activity lasted forty days with a temperature of 40 degrees Celsius (122° F) !1. After that, I have been playing along Malaga province and Costa del Sol.... Fortunately, this great invention called "laptop" has permitted me to pass a lot of hours working on these astonishing TEN PIECES from the "Genius of Algeciras", that DE LUCIA GESTION is pleased to present to all of you.
"Aires de Linares" (Linares (1) tunes), is a "taranta", a free-rhythm style that belongs to the group of styles born in Levante.(2) This piece is played in the traditonal mode phrygian F sharp. It is very important to study carefully the left hand slurs, (mixing hammer on .lnd pull off techniques), to get a good performance.
"Mi Inspiracion" (My Inspiration) is an "alegria". (a joyful style born in Cadiz, (3) played in a twelve beat rhythm, as the
"solea" and "bulerias" ,but with a faster rhythm than the "solea" and slower than the "Bulerias". "Alegrias" are mostly composed in major tonalities, although it's frecuent to include in this style some slower parts played in minor mode, and then tum back to a faster rhythm in major mode again. Notice this piece needs to tune the 6th string in D.
"Guajiras de Lucia" It is a "guajira"( 4). This style is performed alternating 6/8 and 3/4 rhythm, in the same way
"siguiriya" does, but the mode is major here, mostly A, with a brighter "tempo". This piece is really an inmortal masterpiece, a true flamenco "standard", I, personally, have listened it to several classical guitarists in their concerts.
"Mantilla de Feria"(5): This beautiful flamenco piece was composed by Esteban de Sanlucar, a flamenco guitarist of the old times.. It is a true concert work We must tune 6th string in D and 5th string in G to perform it.
"El Tempul" is a "buleria" with and ending part in minor tonality where Paco shows his unrivaled virtuosity and his extraordinary rhytmic mastery. Notice the special type of "rasgueo" (strum) used from bar 37, performed with right hand ring and index fingers.
"Panaderos flamencos" (Flamenco bakers) is another classical piece by Esteban de Sanlucar played in A major, with a 3/4 rhythm, and a similar "tempo" to "Bulerias" style. The speed in the scales combined with the rasgueo rhythmics are a challenge to test the skills of any guitarist hands
"Generalife bajo la luna" (The Generalife (6) under the moon). It is a "granaina", a free rhythm style, whose origin is Granada. (Granaina means -from Granada-). This peace is composed in flamenco phrygian B. I recommend to mind the performance of the long arpeggios which include open and pressed strings in the high parts of the fretboard, producing wonderful chords. The same thing can be said about the scale in bar 57, where you have notes with open and pressed strings in frets VII, VIII, or IX, getting a sonority. (let me say it!!) so "crazy"!!
"Fiesta en Moguer"(7) is a "fandango"; this type is called "free fandango, played in phrygian A. Although all fandango types obey to a ternary rhythm, in this case the "compas" (rhythm) is not as rigurous as in the "fandangos de Huelva", so the player has more freedom to perform it.
"Lamento Minero" (Mining Sorrow) is a "minera", another style from the Levante region, composed in phrygian G sharp, where Paco includes new harmonizations with a lot of inverted chords whose different soundings seem Flamenco is being "reinvented.". Both in this piece and in "Aires de Linares", a special flamenco technique is used. It is an up & down complete arpeggio. The way to perform it is as follows: It begins with a thumb stroke on 6th string, another on 5th , another on 4th followed by an indexstroke in 3rd, middle stroke in 2nd ,and then the ring finger strikes on the 1st string going up through the strings playing them in the opposite order: 2nd , 3nd 4th, 5th and 6th . To do it properly, please notice the thumb must rest on 5th and 4th strings but not on 3rd. Both index and middle finger don't rest either on the strings (It is an arpeggio movement) but ring finger rest on the 2nd stringafter playing the first and goes up playing and resting on all the strings until 6th . This same technique is often performed begining with a thumb stroke in 4th string, continuing in the same way.
"Celosa" (Jealous woman) is a "solea por medio"(8), that is to say it is performed in phrygian A. This piece style is called "solea por bulerias" (solea performed in bulerias style). In next volumes we will see the differences between the "pure solea" and the "solea por bulerias". This one has a brighter rhythm and a "tempo" similar to "alegrias". In several pieces of thi book, we can recognize "falsetas"(9) used by Paco in recording °th The Genius of San Fernando" the genial ...
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