The main themes of this tarantas come from Paco´s own "Fuente y caudal".Taranta is a flamenco genre related to the Andalusian region of Almería,where Tomatito was born.When sung,taranta´s lyrics often speak of life and strife of people working in the mines.T his sort of arpeggio over the same note is called trémolo.Paco really mastered that technique!
Its beyond incredible and also pretty mind boggling! Even being a guitarist myself I struggle to find the words to explain to the average person just how insanely amazing this is!!! There is easily two guitars worth of playing all being done by one man making it look so effortless!! Its is truly a treat to learn about him, no matter how much I hear I never cease to be amazed!!!
@@TheKillogicEffect I play some guitar myself,but although I´m Spanish I can´t play but some small hints of flamenco.I think in classical guitar they also use tremolos on one note while playing a melody or a bass line on the upper strings.The difference I find in Paco´s way is that he is much more expressive and his sense of dynamics is just crazy.All flamenco guitarists worship his playing and his persona.He listened and encouraged all young musicians who met him.Tomatito once said "We all can do our thing but Paco is high above us all"
The technique at 1:40 is a flamenco tremolo (different from classical tremolo). As for the strings on a classical/flamenco guitar, the upper 3 (the bass strings) are nylon core metal wound strings.
Hey, my friend, Paco is incredible.....see if one day you can put Alegrias ( happiness in Spanish ) , its one of my favorites flamenco styles.....flamenco has many diferent styles ( bulerias, fandangos, alegrias, etc) called Palos, and Paco was a master in all of them ..wish you good from Ibiza, Spain..✌👍
2:43 rare instance of Paco missing a note (he tries again immediately after and it comes out right), also quick nail check like "hey, what just happened?"
as i always say paco is THE MAN my favorite guitariste but dude you have to watch KAZuHITO YAMASHITA another goat but never get his credits don't know why, listen to capriccio biabolico one of the hardest classic pieces to play comosed by paganini, always great to watch your reaction, keep it real
Hello there you finally reacted to this lol thank you for your reaction someone already explained tarantas in the comments, so i'll explain something else lol the thing that you called arpeggio, is actually called Tremolo. tremolo in classical/flamenco guitar is different than metal and rock, so don't get confused now that you reacted to this, i'll recommend chiller songs, but more beautiful in my opinion i personally love paco's solo quiero caminar and los piranes, which are both 4/4 tango's, but i love them even more than most of his other songs. you can also react to his gloria al nino ricardo, which is a very beautiful solea dedicated to the master who teached the generation of paco. i would recommend you to get more into tomatio and moraito, you can start with tomatio, react to his tango or his bulerias, he's also INSANE
Yeah being a guitar player myself I also understand the average person needs things explained a little differently in order for me to properly convey the point I am trying to make about his techniques! So I try to use a comparisons in some areas. I have really been enjoying learning about the different rhythm styles and the techniques in those areas and the different ways all these incredible artists approach this incredibly amazing genre of music!
Another great performance!! :) Thanks for another cool reaction of Paco. You might want to check this link to a performance of Rio Ancho: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jxodluTaz4g.html . The Mediterranean Sundance he plays with Al and John was based on this piece. Al D., John M. etc. - are all great in their own right. In case you're interested, another lesser known genius of the classical guitar is Roland Dyens ( French classical guitarist, composer, and arranger). He was best known for arranging classical pieces for the guitar. But he also composed some pretty amazing pieces of his own - Tango en Skai, Fuocco (Libra Sonatine), A Night in Tunisia. It's not Flamenco, but great stuff. Here is a link to Fuocco (Libra Sonatine): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-AO9AhMqXs_s.html 🙂🎸🎼🎵
Wow thank you very much I really appreciate it! I look forward to checking these out! Feel free to dig through the playlists if you havent already, I appreciate all the suggestions!
@@TheKillogicEffect Will do! Thanks! Always enjoy the guitar reactions and anything Paco. lol. BTW Fuocco means 'Fire' in case you were wondering. Pronounced generally Foo - Oh - co. Something like that.
Him , and therefore everyone else always used Savarez by in large , classical strings silver plated cooper wound , for the bass, and nylon for the trebles, and he mixed sets , never happy with a single set of any brand for all six, I read all that .
I figured it had to be something to that effect where they have such a sharp sound which he has made into a very unique distinct tone! I would love to hear him with some of the strings they have on the market today!
Actually from what I have researched and heard from other people in the field he used to like to mix and match even using classical strings silver plated copper wound , for the bass, and nylon for the trebles! I would imagine he has played around with the bronze variants as well... Its not the same as the metal strings for say an electric guitar, a lot of them by and large have metal involved but its not the same, they are still very much a nylon string although he did play around with metal strings, he built his own particular set that was one of a kind, as he is!
@@TheKillogicEffect classical strings are very good too, we have no problem in using them, but it's impossible to play flamenco with metal strings lol, he used a brand called "luthier" which has a unique sound too, pretty sure he used it for most of his career.
A flamenco guitarist, once they acquire a certain level of skill, starts playing in small venues. In these venues, different singers (cantaores) perform weekly, each with their own particularities. They use their own tones and even different notes for each "palo". "Palos" in flamenco refer to the different styles or forms within the flamenco tradition. Each palo has its own distinctive characteristics, including rhythm, melody, chord progression, and emotional content. Here's a brief overview of some of the main palos in flamenco: Soleá: with a slow, serious rhythm and deep emotional content. Bulería: A fast-paced, festive style often used to end performances. Seguiriya: A deep, tragic style with a unique 12-beat rhythm. Alegría: An upbeat, lively style originally from Cádiz. Fandango: A versatile palo with many regional variations. Tangos: Not to be confused with Argentine tango, this is a lively, 4/4 rhythm palo. Rumba Flamenca: A more modern style with Cuban influences. Malagueña: A free-rhythm style originating from Málaga. Petenera: A haunting, superstitious palo in 12-beat rhythm. Taranta, Serrana, Rondeña,etc... and styled mixed Alegrias por Bulerias, Solea por Alegrias............. Each of these palos (and there are many more) requires different techniques and approaches from both the guitarist and the singer. Flamenco artists often specialize in certain palos, though many are versatile across multiple styles. If a cantaor (flamenco singer) masters 5 palos, they are already considered a good singer. Paco de Lucía accompanied the one who was possibly the only singer who mastered the main palos of flamenco and was the best of all time: "Camarón de la Isla". The guitarist, without having rehearsed with the singer (cantaor), must follow them in each song, and play guitar solos between songs to allow the singer to rest and breathe. Depending on the singer, these solos will be more or less long. When a guitarist reaches the level of being able to accompany one of the great singers, their skills are astonishing. Never, not even Paco de Lucía, does one become a flamenco guitar soloist first. That is already the master phase, after having accompanied the masters of cante (flamenco singing). I hope that with this summary, it's understood why flamenco guitarists have such a high level of mastery of the instrument. The cradle of this flamenco is Andalusia, not Spain. These are very different things, it's like saying that the cradle of blues is the United States, when it's really concentrated in a small part of the USA.
I'm sorry but most guitar players go to school to learn these days just like classic players. They're educated professionals. What you're saying hasn't been true for 30 years.
@@Jose-ru2wf It's easy to know who's right. Tell me 2 currently renowned flamenco guitarists, and we will look at which conservatory they went to learn.
ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-OaNQrBpawC0.htmlsi=votUVxHzyvoKHQeX buenas noches aquí en España,otra maravilla del genio de la guitarra, aquí te mando yo otra que es un dúo con el ya fallecido también Larry Coryell, gran guitarrista de jazz de Estados Unidos,otra joya, todavía tendrás en la cola de reproducción otro enlace que te mandé de Paco tocando en una taberna de Madrid unas bulerías,este hombre era de otro planeta con la 🎸
