What a brilliant lesson! That is the first time I watched one of your videos but it surely won’t be the last one. I subscribed and I shall bingewatch them, and learn all I can. You’ve got that Gitano feel that is sorely lacking in most of us payos. Complimenti!
u teach very well...im excited watch all your stuff....ive tried learning this before but after watching/learning from you i got a good grasp. the counting out very helpful...i got ta support ya
Another good lesson Sal, thanks. My teacher has just introduced me to Solea and encourage s me to come up with variations... at this stage I still cling to the basics and don’t trust myself to deviate, and after watching this I think, wow, so many possibilities within the basic compass... I have also realised how important counting aloud is and recognising the accents... I still struggle with the golpe and Index at the same time... but I am chipping away at it...
Sounds great! Keep at it and experiment. Get into the habit of changing what you learn a little bit to make it your own. It's so much more satisfyingly than rote learning and repeating.
Fiddly bits have their place, I quickly learned that a noisy dance studio is not a good place to show off falsetas. It's all go at my end. Thanks for watching.
Just what ive been looking For Sal .backing a dancer..with just the rythmn of the compass..I would love for you to do the Same thing with say Sevillanos or Alegrias...all the ones they do for the Dancers...once again thank you so much...wish we had you tube back In the 70 s when I was trying to learn all this from records like Pedro Soler...and ruining them...haha!!
I will keep your suggestions in mind. Pedro Soler is good to listen to and pick things up from. Back in the 70s I tried counting compas with Sabicas and Carlos Montoya and got totally lost. I was never sure if they were even in compas. Carlos definitely was not most of the time will all his extended, showy ligado passges. Even Ramon Montoya had me scratching my head. Speed variations seemed standard amonmg the greats of yesteryear. Metronome. What's that? These old time performers had very wobbly tempo in their compas which made it really hard to count and follow. When I discovered Paco de Lucia it was a breath of fresh air in terms of timing and compas. I gave up on trying to follow Sabicas, much as I loved his technical skill and music. For learning purposes I focused mainly on recordings that had dancers or palmeros in the background. The guitarists were forced to behave with timing in this structured environment and it was easier to follow compass and learn falsetas and stuff. It's all a fascinating journey.
@@hersoveela totally agree with you on Sabicas. In his solo recordings, he does stay in compas, but employs rubato very liberally -- this together with his fancy technique makes it super difficult to stay with his rhythm. If you check out some videos of him playing with Carmen Amaya though you can see how perfect his compas actually is! But you are right about listening/watching performances with dancers for learning purposes because thats actual flamenco and they never break compas.
Sal, this is a great help to this old fart trying to learn some Flamenco. Dance, that is. Hearing/seeing how the guitarist works the compas in this step by step fashion gives me surprising insight. I live in a Spanish speaking country and no matter how many times they try to explain my limited command of the language trips me up and leaves me confused. Any plans to do Bulerias? (Please! Preferably with emphasis on 7&8.)
I'm happy you found this lesson helpful. Part two is coming soon with variations on the 7-8-9 count. Bulerias was an interesting leaning curve for me. I had to break it down into modular components like I did with Solea in order for me to grasp it in my own way. It's on my to do list but I have other things I want to do first. Thanks for watching and commenting.
Thanks Sal, fantastic video. I am starting my flamenco playing journey (albeit later in life!) and this explanation of the solea is so clear and informative. One question though: how to do a decent golpe? Any links or advice?
I'm glad this video was helpful. It's all about the journey. The golpe is something that comes with practice ... like anything else. I have an old video without words that demonstrates this technique. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-4anJ_LfIr4E.html I also mention golpe in this rasgueado video @ 5:32 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-4anJ_LfIr4E.html These two videos should give some insight into golpe. The tap is mainly with the fleshy part of the fingertips of the a and m fingers. Keep nails as short as you can to execute clear picado and arpeggio. You will get some nail sound with golpe but it's the fleshy fingertips that matter. If you have any more questions don't hesitate to ask.
There are many interesting chord progressions in flamenco. Buleria has (many) interesting chord progressions. It's hard to describe this sort of thing in a few words because many flamenco chords are only partial standard chords combined with open strings. I could say A, B flat, C and A in the A Phrygian mode but that would not do these progressions justice. The best way to learn the way chords are used is to listen to some traditional flamenco guitar music for accompanying singers and dancers.
