Here it is, after far too long, is some music for you. It is, after all the purpose of the site. Continue reading, using the link below to hear the mp3. This soleá is por medio and the cejilla is on the fourth fret. It is really a technical exercise, but with some very useful vocabulary for soleá por medio. The idea of practising crotchets and triplets came from Gabriel Cabrera in Málaga.
Here is the tablature.
If you would like a soleá por medio compás track to practice along to, you can find one here. I would have uploaded the palmas">palmas track, but it is a little too ragged!
If you listen to the music, your first reaction might be: ¨nothing new there¨ and you would be quite right, everything is pretty standard, but here is the basics of soleá. There are sections in single, double and triple time.
If you have a look at the tablature, we can go through it together.
The first compás is not on the tablature, but the second is. Bar three features some of those arpeggios that have been taking up so much effort to get clean and crisp. Still some work to do, but there is progress. How are yours?
More arpeggios! Compás three (bar 9) features more arpeggios that I have picked up from MoraÃto Chico. They end with some “rasgueado con golpe”, using the middle finger (m) only with golpe using the knuckle on the downstroke (bar 7) and end with some thumbed basses. That ends our arpeggios for now and onto the thumb exercises…
I always thought that my thumb was strong – until I started to record this. The problem here is that there are crotchet and crotchet triplets. First crotchets, then the triplet and finally, mixed! The problem you might experience is getting the triplets in time. Bar 33 begins with the triplets played using alzapúa and then bar 37 plays the same melody with thumb and forefinger. Can you get both of these sections to sound exactly the same in terms of volume, compás and feel? They are simply the same thing played twice, but using different techiniques.
The final compás in the tablature (bar 65) has a nice cierre with alzapúa combined with ligados and index finger. Could be played more clearly, but time has run out!
The music continues with some experimentation of my own. There is a little falseta with arpeggios that I am still working on as well as an example of one of Tomatito’s rasgueado falsetas that I need work on to get them into shape. But all that is for another day… and another post.
So, practise does improve, even if the road is long and hard. There is plenty more to do, not least making the whole thing more musical, but this is intended as an exercise for arpeggios, thumb, index finger and compás, not as a piece of music that you are going to rave over!
Happy practising.
Pablo on Soleares
Soleares on Scales: theory
miguel on elementary – rhythmic structures of the main “palos” (flamenco forms)
Konrad on BulerÃa de Cadiz
Here it is, after far too long, is some music for you. It is, after all the purpose of the site. Continue reading, using the link below to hear the mp3. This soleá is por medio and the cejilla is on the fourth fret. It is really a technical exercise, but with some very useful vocabulary for soleá por medio. The idea of practising crotchets and triplets came from Gabriel Cabrera in Málaga.
Here is the tablature.
If you would like a soleá por medio compás track to practice along to, you can find one here. I would have uploaded the palmas">palmas track, but it is a little too ragged!
If you listen to the music, your first reaction might be: ¨nothing new there¨ and you would be quite right, everything is pretty standard, but here is the basics of soleá. There are sections in single, double and triple time.
If you have a look at the tablature, we can go through it together.
The first compás is not on the tablature, but the second is. Bar three features some of those arpeggios that have been taking up so much effort to get clean and crisp. Still some work to do, but there is progress. How are yours?
More arpeggios! Compás three (bar 9) features more arpeggios that I have picked up from MoraÃto Chico. They end with some “rasgueado con golpe”, using the middle finger (m) only with golpe using the knuckle on the downstroke (bar 7) and end with some thumbed basses. That ends our arpeggios for now and onto the thumb exercises…
I always thought that my thumb was strong – until I started to record this. The problem here is that there are crotchet and crotchet triplets. First crotchets, then the triplet and finally, mixed! The problem you might experience is getting the triplets in time. Bar 33 begins with the triplets played using alzapúa and then bar 37 plays the same melody with thumb and forefinger. Can you get both of these sections to sound exactly the same in terms of volume, compás and feel? They are simply the same thing played twice, but using different techiniques.
The final compás in the tablature (bar 65) has a nice cierre with alzapúa combined with ligados and index finger. Could be played more clearly, but time has run out!
The music continues with some experimentation of my own. There is a little falseta with arpeggios that I am still working on as well as an example of one of Tomatito’s rasgueado falsetas that I need work on to get them into shape. But all that is for another day… and another post.
So, practise does improve, even if the road is long and hard. There is plenty more to do, not least making the whole thing more musical, but this is intended as an exercise for arpeggios, thumb, index finger and compás, not as a piece of music that you are going to rave over!
Happy practising.