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Sehr sehr gut und logisch verständlich erklärt 👍🏻👍🏻👍🏻 Gerade der Teil, wo du sagst: "Stell dir vor, du hast noch nie im Leben Fandango de Huelva gehört oder gespielt.", macht es aus und erklärt genau was du meinst 🙏🏻🙏🏻🙏🏻 Danke für das Video und herzliche Grüße aus Deutschland 😊
I should have seen this video before! It is like listening the fandango for the first time! I went to Paco de Lucia's Aires Choqueros after the class and it was like having a completely different world in front of me. Thanks a lot!!!!!!
Guillermo, at last I found someone who agrees with me! I was lucky when I started flamenco 20 years ago with the Sevillanas, which I always felt as a shifting triple-duple beat, but my teacher insisted that it was in 3/4. The experience convinced me very early on that the Sevillanas and the Fandango de Huelva were polyrhythmic, an attitude that I carried on into the 12-beat compases. One interesting thing about the Sevillanas: Because of the polyrhythmic structure, sometimes the strong beats coincide, and sometimes they happen one after the other. Where they happen one after the other is where the rasgueado occurs, almost as if the guitar tries to "smear" the two successive strong beats together. I don't know if you'll agree with me about this. In any case it's a relief to finally get some validation, especially from an expert like you!
Thanks! So glad to hear that! I’m very intrigued about what you said about the rasgueo but I’m not sure I understand. You mean beats 3 and 5 that are 2 consecutive accents?
I realized I didn't comment to thank you all this time, I must have been mesmerized. This video is a priceless gem on this platform, a true masterclass actually. It answered my questions perfectly; turns out I was not crazy!
I love this video...I'm a lover of Flamenco and always try to find the rythmes ...I understand exactly what you are saying although im not a guitarist.. imagine yu have to master the rythm and then you put the guitar on the top.....chapeau bas
Thanks a lot! 🙃🙏 I’m glad it helped you. It’s always good to practice rhythm on its own and then put the guitar on top, but practicing guitar consciously and with awareness of what’s happening rhythmically also helps master the compás itself ;-)
Amigo, very beautiful videos! So, it hurts me to point out your punta Umbria de Paco, is cruzado….in your counting the phrase should start on count 5. As there are two phrases the same, you can actually think of it as starting on count 11, the second phrase starting on count 5. And that type of phrase is standard for guitar falsetas por fandango. I have a tutorial of Paco’s Fandango por medio that explains it.
Thanks so much for pointing it out, Ricardo. You're totally right. I got carried away and maybe didn't realize it because I didn't play the falseta until the end. Even though it illustrated the main message of the video (articulating many sentences in 2 beats), it is cruzado, so I deleted that part of the video, as it was not essential to make my point. Thanks so much for watching and commenting!
In classical music this is called Hemiola. You find it in the instrumental music of Handel and Bach when triple meter was very much in fashion. Flamenco keeps alive such elements that are both sophisticated and charming.
Thank you very much for this enlightening comment! I knew the HORIZONTAL hemiola (the one from "West Side Story") that flamenco also uses in different rhythmic patterns. But I didn't know about the VERTICAL hemiola you're talking about. This seems to be an important characteristic of sub-Saharan African music, and since the recent development and research into the African roots of flamenco particularly in terms of rhythm, it all makes sense. I will continue reading and listening ;-) I like being able to put things into words, so I really appreciate this insight! Greetings. G.
It kind of feels like Fandangos is layering classical or a folkloric form (Sevillanas) on flamenco - because you could count it as a 12-beat I think, because the melody is 12-beat. But it also sounds like Sevillanas and that is 6-beat.
Thanks for watching and commenting Audrey! Are sevillanas part of flamenco, or folk songs and dance? Big and controversial question! 😅 But Fandango de Huelva and Sevillanas share the same basic compás. I would never recommend counting Fandango in 12, it is (in my opinion) artificial and it puts the cante in a cage. I explain why here: th-cam.com/video/Xx3jsU9gDfQ/w-d-xo.html
Your video helps a lot to people like me who doesn’t belong from any Spanish background.. thank you so much for enriching us.. lots of love n respect from India 🇮🇳… Just have one question here… what’s this mic your using for your guitar in this video…???
My explanation is that flamenco relies on 'paradoxical' musical forms. Rhythmically there is this constant tension between 2 and 3 beat stress, and melodically and harmonically there is a tension between the basic Phrygian or diatonic idea and a kind of chromatic/diminished harmony which keeps coming back to the flat 5 played as a harmony note: again, playing two things that don't coexist in 'normal' music at the same time. These devices give flamenco its great fascination, so that despite its simple harmonic language it never gets old. Blues music is another example of a paradoxical form, with major, minor and pentatonic often coexisting in one song.
I love this idea! Thanks for sharing! These things seems paradoxical but end up being incredibly compatible! I agree, blues and flamenco have many such things in common. Not directly in the musical material itself, but the way it is used, mixed, interpreted and kept alive.
@@FlamencoMAPS I think we agree but just to be clear I mean 'paradoxical' as a technical term. If you take Middle Eastern modal music for instance, one of the melodic inputs into flamenco, that is not paradoxical, as it strictly follows the logic of whatever mode you are playing in, which makes it sound monotonous to us. But both flamenco and blues superimpose two (or more, rarely) modes at the same time: as if the black notes of the piano were shifted down a semitone so you had two scales starting on C for instance. And then rhythmically paradoxical as you say. Actually I think this is the gypsy element because Balkans music has similiar contradictions, though with irrational time signatures like 5/4 and 7/4.
@@christopherlord3441 I understand what you mean ;-) What I meant is that maybe these things seem paradoxical from the Western music theory perspective, but in practice, they work and we enjoy them, right?
@@FlamencoMAPS The word 'paradoxical' is not a criticism. Of course, I love both flamenco and blues. I think this explains a lot of what makes both so fascinating for players and listeners alike.
@@christopherlord3441 Yes I agree! It is definitely an interesting concept that helps better understand why these musics are so difficult to grasp, to write and to teach 😅Thanks a lot for sharing these ideas!
@@FlamencoMAPS no matter playing solo guitar or accompaniment with singer, i want to know that famous part of fandango de huevla that we play as a compas of fandango, is it called yamada? Like yamada on bulerias and tangos?
@@FlamencoMAPS some techers say we don't have yamadas in tientos,alegria,fandangos, is that true? I always care about what spanish says, so your information is so important for me
I’m not sure what you call “llamada” in the other palos, but many times it’s more about the intention that you give (like a clear cut) than what you actually play. The guitar vocabulary evolved a lot and in older toques, a llamada is only compás with a stronger intention. PD: I’m not a Spaniard but French although I lived many years in Spain 😜
So por fandango de Huelva, if you play the usual compás with intention and closing, it will perfectly serve as a llamada. (With “ll” and not “y” by the way) 🙃
Having trouble taking your next step in flamenco? FREE eBOOK to DOWNLOAD: "Flamenco, from Practice to Art: find your way, enjoy the journey", on flamencomaps.com/
Sehr sehr gut und logisch verständlich erklärt 👍🏻👍🏻👍🏻
Gerade der Teil, wo du sagst:
"Stell dir vor, du hast noch nie im Leben Fandango de Huelva gehört oder gespielt.", macht es aus und erklärt genau was du meinst 🙏🏻🙏🏻🙏🏻
Danke für das Video und herzliche Grüße aus Deutschland 😊
Vielen Dank amigo! 🙃🙏I’m so glad it helped!
I should have seen this video before! It is like listening the fandango for the first time! I went to Paco de Lucia's Aires Choqueros after the class and it was like having a completely different world in front of me. Thanks a lot!!!!!!
So cool! Thanks a lot João!
Wow! This was SO helpful! Fantastic! Thank you!
Thanks Katy! Thanks m glad it helped 🙃
Great great explanation !
Thanks Rolf! 🙃
Excellent as always. i avoided F d H because I didn't get it! Mil gracias maestro.
Gracias Vero! FdH is fascinating to me!
no day I would love to learn the flamenco guitar flicks
“The best to start was yesterday, the right time to start is now” 😉
This is sooooooooo helpful thank you 🎉🎉🎉
Glad it was helpful!🙃
Guillermo, at last I found someone who agrees with me! I was lucky when I started flamenco 20 years ago with the Sevillanas, which I always felt as a shifting triple-duple beat, but my teacher insisted that it was in 3/4. The experience convinced me very early on that the Sevillanas and the Fandango de Huelva were polyrhythmic, an attitude that I carried on into the 12-beat compases. One interesting thing about the Sevillanas: Because of the polyrhythmic structure, sometimes the strong beats coincide, and sometimes they happen one after the other. Where they happen one after the other is where the rasgueado occurs, almost as if the guitar tries to "smear" the two successive strong beats together. I don't know if you'll agree with me about this. In any case it's a relief to finally get some validation, especially from an expert like you!
Thanks! So glad to hear that! I’m very intrigued about what you said about the rasgueo but I’m not sure I understand. You mean beats 3 and 5 that are 2 consecutive accents?
I realized I didn't comment to thank you all this time, I must have been mesmerized. This video is a priceless gem on this platform, a true masterclass actually. It answered my questions perfectly; turns out I was not crazy!
Realizing this was an epiphany for me! Haha you are definitely not crazy! 😜 thanks for the comment
Fascinating!
It is, right? 🙃
@@FlamencoMAPS 👍👋👋👋👋👋👋💪👋👋👋👋👋
@@resheton 😁😁
You are fantastic!
Haha thank you! 🙃😁
I love this video...I'm a lover of Flamenco and always try to find the rythmes ...I understand exactly what you are saying although im not a guitarist.. imagine yu have to master the rythm and then you put the guitar on the top.....chapeau bas
Thanks a lot! 🙃🙏 I’m glad it helped you. It’s always good to practice rhythm on its own and then put the guitar on top, but practicing guitar consciously and with awareness of what’s happening rhythmically also helps master the compás itself ;-)
Excellent
Thank you soooo much ❤❤❤❤❤
A pleasure! 😉🙏
Amigo, very beautiful videos! So, it hurts me to point out your punta Umbria de Paco, is cruzado….in your counting the phrase should start on count 5. As there are two phrases the same, you can actually think of it as starting on count 11, the second phrase starting on count 5. And that type of phrase is standard for guitar falsetas por fandango. I have a tutorial of Paco’s Fandango por medio that explains it.
Thanks so much for pointing it out, Ricardo. You're totally right. I got carried away and maybe didn't realize it because I didn't play the falseta until the end. Even though it illustrated the main message of the video (articulating many sentences in 2 beats), it is cruzado, so I deleted that part of the video, as it was not essential to make my point. Thanks so much for watching and commenting!
In classical music this is called Hemiola. You find it in the instrumental music of Handel and Bach when triple meter was very much in fashion. Flamenco keeps alive such elements that are both sophisticated and charming.
Thank you very much for this enlightening comment! I knew the HORIZONTAL hemiola (the one from "West Side Story") that flamenco also uses in different rhythmic patterns. But I didn't know about the VERTICAL hemiola you're talking about.
This seems to be an important characteristic of sub-Saharan African music, and since the recent development and research into the African roots of flamenco particularly in terms of rhythm, it all makes sense. I will continue reading and listening ;-)
I like being able to put things into words, so I really appreciate this insight!
Greetings. G.
It kind of feels like Fandangos is layering classical or a folkloric form (Sevillanas) on flamenco - because you could count it as a 12-beat I think, because the melody is 12-beat. But it also sounds like Sevillanas and that is 6-beat.
Thanks for watching and commenting Audrey! Are sevillanas part of flamenco, or folk songs and dance? Big and controversial question! 😅
But Fandango de Huelva and Sevillanas share the same basic compás.
I would never recommend counting Fandango in 12, it is (in my opinion) artificial and it puts the cante in a cage. I explain why here: th-cam.com/video/Xx3jsU9gDfQ/w-d-xo.html
Your video helps a lot to people like me who doesn’t belong from any Spanish background.. thank you so much for enriching us.. lots of love n respect from India 🇮🇳…
Just have one question here… what’s this mic your using for your guitar in this video…???
You are so welcome! I’m very happy it helps! What part of India? 🙃
My explanation is that flamenco relies on 'paradoxical' musical forms. Rhythmically there is this constant tension between 2 and 3 beat stress, and melodically and harmonically there is a tension between the basic Phrygian or diatonic idea and a kind of chromatic/diminished harmony which keeps coming back to the flat 5 played as a harmony note: again, playing two things that don't coexist in 'normal' music at the same time. These devices give flamenco its great fascination, so that despite its simple harmonic language it never gets old. Blues music is another example of a paradoxical form, with major, minor and pentatonic often coexisting in one song.
I love this idea! Thanks for sharing! These things seems paradoxical but end up being incredibly compatible! I agree, blues and flamenco have many such things in common. Not directly in the musical material itself, but the way it is used, mixed, interpreted and kept alive.
@@FlamencoMAPS I think we agree but just to be clear I mean 'paradoxical' as a technical term. If you take Middle Eastern modal music for instance, one of the melodic inputs into flamenco, that is not paradoxical, as it strictly follows the logic of whatever mode you are playing in, which makes it sound monotonous to us. But both flamenco and blues superimpose two (or more, rarely) modes at the same time: as if the black notes of the piano were shifted down a semitone so you had two scales starting on C for instance. And then rhythmically paradoxical as you say. Actually I think this is the gypsy element because Balkans music has similiar contradictions, though with irrational time signatures like 5/4 and 7/4.
@@christopherlord3441 I understand what you mean ;-) What I meant is that maybe these things seem paradoxical from the Western music theory perspective, but in practice, they work and we enjoy them, right?
@@FlamencoMAPS The word 'paradoxical' is not a criticism. Of course, I love both flamenco and blues. I think this explains a lot of what makes both so fascinating for players and listeners alike.
@@christopherlord3441 Yes I agree! It is definitely an interesting concept that helps better understand why these musics are so difficult to grasp, to write and to teach 😅Thanks a lot for sharing these ideas!
does fandango have yamada?
Potentially every palo has a llamada. Are you referring to dance or guitar?
@@FlamencoMAPS no matter playing solo guitar or accompaniment with singer, i want to know that famous part of fandango de huevla that we play as a compas of fandango, is it called yamada? Like yamada on bulerias and tangos?
@@FlamencoMAPS some techers say we don't have yamadas in tientos,alegria,fandangos, is that true? I always care about what spanish says, so your information is so important for me
I’m not sure what you call “llamada” in the other palos, but many times it’s more about the intention that you give (like a clear cut) than what you actually play. The guitar vocabulary evolved a lot and in older toques, a llamada is only compás with a stronger intention.
PD: I’m not a Spaniard but French although I lived many years in Spain 😜
So por fandango de Huelva, if you play the usual compás with intention and closing, it will perfectly serve as a llamada. (With “ll” and not “y” by the way) 🙃
Is fandango de huelva a music piece or a palo?
It is a palo 😌
this video was complicated
Yes it is 😅 but it explains many things about flamenco compás and music. I just hope it’s not too complicated!
Excellent
Thanks Aziz!