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We can spend years learning choreographies, steps, palmas patterns, "letras" or "falsetas" by heart and still miss the fundamentals of how it REALLY works. FlamencoMAPS gives flamenco dancers, singers, guitarists, percussionists or simply flamenco enthusiasts a global vision allowing you to make your way through this abundant, rich and complex art. Let's talk about music, dance, interactions, communication, improvisation ... but also artists, culture, language, context, history and stories ... FlamencoMAPS: find your way, enjoy the journey!
A short but powerful video. It explains so much I have heard. I am looking forward to discovering a compilation of letras, an encyclopedia of letras...
I guess you checked the letras translations collections on this channel! ru-vid.com/group/PLvow4JGVC5gitP-WYYipW4CoKH0m7n8HO ru-vid.com/group/PLvow4JGVC5gjo3QH3LEbCci-c9PLT0Ae8
Guillermo! Very good stuff! Thank you. I'm interested in learning more about melodic lines vs. lyric lines like your example of Alegria. Will I find how they vary by palo as I work through your videos?
For letras, usually yes, always with the flexibility of interpretation! Singers can always stretch, squeeze, or start "a medio compás" (in the middle of a compás), but in general yes! Coletillas lines are shorter and cover half a compás, so you need 2 lines of a coletilla to cover 1 compás (and they start with a pick-up landing on 12). Escobilla melodies cover 2 compases (what we call a "rueda de escobilla").
@@peterrmarvin For letras, usually yes, always with the flexibility of interpretation! Singers can always stretch, squeeze, or start "a medio compás" (in the middle of a compás), but in general yes! Coletillas lines are shorter and cover half a compás, so you need 2 lines of a coletilla to cover 1 compás (and they start with a pick-up landing on 12). Escobilla melodies cover 2 compases (what we call a "rueda de escobilla").
Guillermo, thank you for pointing out that letras don't define the palo. Through my listening I began to notice that certain lyrics reappeared time and again in different recordings. (I also noticed that one cante can share one or more letra with another cante.) But I never listened carefully to see if the palo is also different. I will now.
Thank you Guillermo! I enjoyed learning more of the subtleties of "por". I'm looking forward to studying more of compas and how the compases vary by palo.
Whoa! A very enlightening video. When I started learning flamenco guitar, I thought that I could learn just the toque and not worry about cante or baile. But, I'm starting to see that I'll need a holistic understanding at least of the other elements if this music will make sense to me. I am looking forward to knowing much more.
Thanks for this video. Like many things, the meaning of "compas"is based on the context. I'm lookimng forward to more of your videos that drill down on the understanding of compas.
Thank you. I never understood that the Estrobilla was essentially the "chorus". Additional long rambling 😂question. I thought the Colletia was sung when the dancer "went to the corner" and that the cantaor would shorten/lengthen depending on the cues they interpreted from what the dancer was doing and vice versa. Especially Bulerias por Fiesta. I've tried to figure out as a dancer how to listen and signal properly so I leave respectfully, properly and in synch. Anything you can help me and fellow dancers with?
Thanks for your comment and for watching! It’s « Estribillo » and not « estrobilla » 😆😆 Yes, coletillas and estribillos are usually sung at the end of a baile or a patá por buleria while the dancer wraps up and exit the stage. And yes, the usual cue for the singer is when the dancer goes to the corner. When this happens, then the singer is usually waiting for the dancer to exit, not the other way around. Once you have given your cue to communicate that you’re leaving, you just leave, quickly or taking your time, it’s up to you. The singer will “provide” cante until you’re gone or you have “rematado”. But careful with the dancer’s bias here 😉 coletillas and estribillos can be danced, but they are primarily cante elements and can exist without the dance. I hope it answers the question!
Guillermo, I have been working my way through your videos. Today I came back to this one and I was able to grasp so much more of your message. I'll be going back to basics, assessing where I am with the palo I know most, solea, and the dialect I speak, guitar. I find that I have some technique, I have been working on compas with your videos, but I'm starting out to learn language elements and cante. Thank you for lesson, it has been eye opening.
Hi! Thank you so much for this comment and sharing your process. I’m so happy to know that this message is actually landing somewhere! I wasn’t joking when I said that « this is a game changer ». Please keep me posted about your progress and don’t hesitate to reach out if you have any questions. Abrazo! Guille
This is really wonderful! Exactly the way flamenco should be described and taught. So many flamencos, especially in the US rely on choreography and memorization. The arte of the conversation is getting lost.
Verständlicher, schneller und einfacher kann mein es nicht beschreiben - du bist ein großartiger Lehrer / Can't describe it any more clearly, quickly or simply - you are a great teacher 😊🙏🏻😊🙏🏻 Herzliche Grüße aus Deutschland 🙏🏻🇩🇪
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 😊
@@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) 🙃
I read your ebook, and I must say I am impressed by the way you formulate your insights. Thank you and keep up the good work! Greeting from the Netherlands
Thank you so much for this through explanation. I liked how you explained the same letra in different styles and tempo. Knowing these little nuances will help in my dancing.
That. Is. Amazing Exactly that is what i could not comprehend in rythm flamenco. Omg everything just clicks into place Thank you. I knew you with your legos and logic are the chosen one Unfortunately i can't find reliable flamenco teachers in my country. So im stuck with online knowledge. But your videos answer alot of my questions. Thank you again
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You asked for it @7:12. Here's a lyric por zambras: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-cNtbfm8Xkfk.htmlfeature=shared&t=108 and here's the same lyric por tangos: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pIawN24T1vg.htmlfeature=shared&t=15 Maybe this doesn't count because zambra and tango are in the same family.
It's so beautiful. I hear Tiento/Tango melody in the third line ' "dille que se calle". Is that how it's identified as Tiento? Or because it's an intro to a Tiento..
Yes it is beautiful! It’s not intrinsically an intro or anything, It’s just a traditional style of tiento ;-) she’s singing the style with the traditional melody usually associated to these traditional lyrics. The only change here is the arrangement (they chose to do it without compás, and they created a more modern guitar and sound effects arrangement) otherwise it’s completely traditional. It’s actually very close to Morente’s version of los tientos de Chacón. I hope it makes sense 😅
That’s so interesting - I think I’ve heard the letra sung por tiento with a different melody, maybe was a different style - and por tangos and I didn’t know this melody. I think I found the Chacon version to study. 😮
I have recently been introduced to Rosalia and listening to her album Los Angeles. I noticed the guitar in her music has a folky sound very loose strings sounds like a 12 string guitar difficult to recognise the compas but she has mesmerising vocals with arabic /eastern influence maybe, no?.learning so much from you Yem. Thankyou
@@sarrieadin8001 She has a beautiful voice indeed, and has many influences for sure, so has flamenco ;-) The guitar sounds a bit different many times because Refree is not a flamenco guitarist so he gives a different twist and sound to the music, which is interesting!
Hi, can you transcribe this sevillana: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-j0WTtEt2vX4.html and translate, expecially the second stanza? Thanks.
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¿Qué pájaro sería aquel Que canta en la verde oliva? Corre y dile que se calle Que su cante me lastima Tell me, which bird is singing there Hiding within the olive’s shade? Please hurry, make it cease its tune For me it’s a cruel serenade