"

U'TAlt~'"

PART TWO: LESSON 2 and IwfESSON 5 Produced and Directed by Juan Martin and Patrick Campbell FLAMENCOVISION

© ~atrick Campbell & Cordhart Ud 1991

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Andalucian Suite I & II Solo Flamenco Guitar. To be released in 1991

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Picasso Portraits POL YDOR 1 sf Edition: POLO 50-48. 2nd Edition: SPELP 70

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The Exciting Sound of Flamenco ARGO (Division of Decca UK) ZOA 201

GUITAR MUSIC nOOKS BY JUAN MARTIN (wltll Patrick Campbell)

Guitar So-los (12 pieces from the album Serenade} Wamer Bros. Music Ltd, Distributed by IMP, International Music Pu blishers Juan Martin's Guitar Method, El Arte Flamenco de la Gui/arm (with 6o..millulc audio-cassette) United Music publishers (UMP)

The Exciting Sound of Flamenco, Volumes I &-Il (4 solos from Argo recording of (he same name) UMP. London

1

Introduction to Part Two

-

- -.

Welcome to the second videotape of La Guitarra Flamenca!

This tape contains Lessons 2 and 5~ As explained in the introduction to the first tape, the lessons are paired in this way in order to make the music booklets approximately equal in size. It also ensures that each tape contains music for players of varying ability. Beginners would be best advised to follow the progres~ sive sequence of lessons in the order 1 to 6.

Lesson 2 starts with the opening theme of Bulerfas heard at the very beginning of Lesson 1. It is transcribed again here for more advanced players because the later part of the solo is different ·from the previous version. Lesson 2 is mainly devoted to the Alegrlas, to which the beginner is introduced on page 22~ with the demonstration of the 5-stroke rasgueo. Before this there are transcriptions of the music which introduces the toque of Alegrias and the use of the cejilla.

La Guitarra Flamenco

J ntroduction

..

VI

Contents of Part Two (Continued)

. Falseta .·2 (First Version)

. Tremolo Exercises on One String Continuing the Alegrias

Triplet Rasgueo

An Ending for Alcgnas Scale Exercises for Picado Scale Exercises in Cornpas An Exercise in Ligado Lesson S. Introduction Granainas

Guajiras

Tientos

Tangos

Chord Sequences with Bridging Chords

Farruca

Symbols for Slapping Techniques in Rumba

Rumba -

3-3 36 37 50 51 52 57 59 63 64 91

103 115· 129 130 143 144

Coments

La Guitarra Flamenco

Introduction to Part Two

-

- -.

Welcome to the second videotape of La Guitarra Flamenca!

This tape contains Lessons 2 and 5~ As explained in the introduction to the first tape~ the lessons are paired in this way in order to make the music booklets approximately equal in size. It also ensures that each tape contains music for players of varying ability. Beginners would be best advised to follow the progres~ sive sequence of lessons in the order 1 to 6.

Lesson 2 starts with the opening theme of Bulerfas heard at the very beginning of Lesson 1. It is transcribed again here for more advanced players because the later part of the solo is different ·from the previous version. Lesson 2 is mainly devoted to the Alegrlas, to which the beginner is introduced on page 22~ with the demonstration of the 5-stroke rasgueo. Before this there are transcriptions of the music which introduces the toque of Alegrlas and the use of the cejilla.

La Guitarra Flamenca

J ntroduction

2

Bulerias

Opening Theme

Cejilla at 2nd fret

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V V La Guitarra Flamenco

Buurias: Opening Theme. Lesson 2.

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La Guitarra Flamenca

Bulertas: Opening Theme. Lesson 2.

12 ALEGRIAS

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A leg rlas: First Example (without cejilla). Lesson. 2 ..

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La Gultarra Flamenca

16

ALEGRIAS

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La GuiJarra Flamenca

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Alegrias ++ High Position. (End) .. ·Soled Llamada. Lesson 2.

La Guitarra Flamenco

Ex.5

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Alegrias : High P osition. Llamada. Les sC!n 2.

23

Beginning Alegrfas

The technique of 5-stroke rasgueo (rasgueo de 5) is introduced in the compds of Alegrias shown on P+ 22 (Ex .. 6, opposite). Wbenplayedon beats 1 and 4, the accent falls on the first stroke with the little finger. The second half of the compas illustrates the 5-stroke rasgueo with accents on the fifth stroke, the index upstroke, on beats 8 and 10.

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La Guitarra Flamenca

Beginning Alegrias. First Compos. Lesson. 2.

23

Beginning Alegrfas

The technique of 5-stroke rasgueo (rasgueo de 5) is introduced in the compds of Alegrlas shown on p4' 22 (Ex .. 6, opposite). Wben played on beats 1 and 4, the accent falls on the first stroke with the little finger. The second half of the compds illustrates the 5-stroke rasgueo with accents on the fifth stroke, the index upstroke, on beats 8 and 10.

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La Guitarra Flamenca

Beginning Alegrias. First Compos. Lesson 2.

24

First Compas (Slower Version)

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On the previous page is shown the version of the . first compos played initially at a faster speed than the version above~ which is explained in detail, with introduction of the techniques of the two-finger downstroke (with m and a) and the golpe combined with an index downstroke. Note the small differences between the two versions, with the faster version using a four-stroke rasgueo leading onto the accent on beat 10 instead of the 5-stroke rasgueo shown above, and the option of playing either golpes, rests or downstrokes on beats 7 anti 9.

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Beginning Alegrias. First Compds. Lesson 2.

L

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La Guitarra Ftamenca j

25

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The second compds (above) is essentially the same as the compos shown earlier on page 22t which introduced the 5-stroke rasgueo. The minor differences between them show the option of-playing golp~s or downstrokes on beats 7 and 9.

The h~/O compases following (on page 26) show different versions of the llamada, which is the third of the three 12-beat cycles which start the sequence of Alegr{as studied in lh i s lesson. The version played a t a faster speed has a five -stroke r llS g UfO starting on beat 7 and a four-stroke rasgueo leading onto the accent on beat 10.

La Guifarra Flamenca

Beginning Alegrlas. Second Compds .. Lesson 2.

29

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La Gidtarra Flamenco

. Beginning A/egrlas. Falseta i. Lesson 2"

..

30

Notes on Transcription of F alseta 1

•

.

- Pages 27 to 29 provide a transcription of the five compases of the first fa/seta

followed by a compds of rasgueo. The transcription shows the music of the falseu: the first time it is heard, at full speed. On beat 11 of the first compds there is an option to playa D on the 4th string or a B on the 5th. B is played when the start of the falseta is played slowly for the first time, but D is played in other versions. .

The music introduces two new symbols. Roman numerals above the musical notation (e.g. II, here) indicate the fret position for the index finger. The second

symbol (shown left) is a bracket with the number 4 above it.

This indicates anapagatio (a technique demonstrated in later lessons) in which the sound of the guitar is abruptly stopped by damping with the little finger of the left: hand, which is lightly brought down across the strings after they have been struck. This occurs on the very last chord of the rasgueo compds which follows the falseuu

4

Notes on Transcription of Falseta-I, Lesson 24

La Guitarra Flamend

i

31

Introducing Flamenco Tremolo 5

Ex..7

The flamenco tremolo is played with an apoyando thumbstroke on a bass string followed by four notes on a treble string which are played wando by i ami. The five notes are

notated as a quintuplet (as shown in Ex.7~ left) ..

The sequence of Alegr(as is interrupted at this point for the technique of trlmolo to be demonstrated .. The Alegrtas continues on page 33 with a trdmolofalseta, Falseta 2~

Ex.8

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La Guitarra Flamenco

Introducing Flamenco Tremolo. Lesson 2~

35

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The first time the tremolo [alseta (Falseta 2) is played there is a lead-in of four notes on the A of the first string, played i ami, as shown on page 33. The/aIsela is then

played again, without the lead-in, with the rhytlun counted aloud.

Exercises for practising tremolo on a single string are then demonstrated, and these are transcribed on the following two pages. The Alegrfa.r solo then resumes, with the lTimolo falsela preceded by three composes, of which the first two, from the ending of Falseta 1 , have already been given on pages 28 and 29. The music which is p Jayed

from this point (the cue on the video is: "we come up to this parL-") until the end of the Alegr{as solo is transcribed in full, starting on page 37.

Alegrias .. Falseta 2 (First Version). Lesson 2.

La Guitarra Flamenca

36

Tremolo Exercises on One String

_ 5 5

5

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Tremolo Exercises. Lesson 2.

La Guitarra Flamenco

37

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Aiegrias .... Continuing the Solo .. Lesson 2 .

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Alegrtas. Lesson 2.

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e ami i

• •

e a m t 1.

i

•

I

o

Alegrtas. Lesson 2.

La Guitarra Flamenca.

!

_Ji 1-6
J\ JI. 1t t
rI"Ir 1\ .fir 1'10 I ~
1I1t'1 J.!. .""'_j ..,__. .. - -. -v-. j 4 l~~ ]1(, • .1. • I ~ •
~ 1 _,it-4 rn :I .... Zj • _j lJ..- - .... ..... -- L ~ 4-
.l_j !It; v .. . v _'" ..... .ff' :=II; LIII _. 4 .. ~ ."S ::z; "So _'S ~ ~ j •
........... 1 I __ U_'1. r '"!f- 1-- - -- ...... - - -- .... - "I'~ to
t.' ~~~ G~ ~1~ l~ .. .=. .- II-r- f--......-, j to ~-
t~._ . lJ~.. ~ : J. 1111- i ~ .. ~ j f.-
a.. ' .... 2~ .to ,,~ ~ I ~ I~ 11 ~ ~r 1 ~ i to 1:&:'
ma maO ma2 -
rna ma rna p_4p mp p rna p.
- 0
..
.... ..... ...... A - A. ..--:- ""- .I'll. - .... - -
.. ~ ~ ~ .~ !! .~~ j _~ ~ !! I " Y Y , 1\ ~ } ~ ~ .~ j .!! J "'" 2
~ ~ v ~ ~ 1! "! .. .Y u ~ ~ ~
~ ~ .! ~ ~ 1: ~ ! .I. ! ~ * ~
~ ~. !!_ -;: : ~ ~ ~ ..... .~ ~ -y !
-u u """ \I U V ~ ~~ ,1.01 "" ~ _ ~v "" ~ !
•
... "'t ~i 't- .... "t oi.J cv o

49

rna

ma

rna

ma

rna

ma

p

p rn p

p

rna

p

The final chord of the Alegrias (above) has CV over the music notation. The C indicates a full barrel in which the index finger of the left hand stops all 6 strings, in this case at the 5th position relative to the cejilla (V).

Beat 7 of the final compos has a variation of the triplet rasgueo trasgueo de 3) shown on the following two pages and demonstrated on the video, Here a downstroke with the thumb on beat 7 is followed b)' the pattern of strokes with the thumb and middle finger which OCCur in the triplet rasgueo.

In the illustrations of the triplet rasgueo you will see again the use of apagado, the damping technique with the left little finger and, in Ex~15" with the right hand.

La Guitarra Flamenco

Alegrias (End). Lesson 2 ..

50

Triplet Rasgueo

Ex.13

The triplet rasgueo trasgueo de 3) is notated as shown on the left. An upstroke with the thumb is followed by a downstroke with the middle finger and a downstroke with the thumb .. This pattern of strokes may be repeated, as shown in the examples which follow. The concluding stroke is an upstroke with the thumb, which is accented.

m p p

p m p p

., ..........

6

6

Ex .. 14

fl .n. Ill! ~ ~. ~ !
~I ~I .... . J. J • • ) .. ~ .. .. .1 • .. J. } . • j
~ I.' • IJ . .L II -- .- - - -- • -- • ....... '1..1 -..( ..
..... I • '" I'f'""'!iI "'S '!II .... ~ ~ -~ .z "'!I "Ii. ':J;; ""'ill "S • .f ~ ~ "-.t t
~ ... 1I IIo...l I:. '-H""'! -~ ":Ii. "'" ':s; ""'2 ~ ~ ""! III ~ ~ ~ I ':., I
tJ ~ .. -- i ~iI i; - -- - it i~ i~ .. -- -ir-
.. ~ 2 ]I!~ ]I .. ::J!~ ~~~~ ::'l- 71t ~ f]l! :"
... , ~ "" r .. -
o -"" ,...- p-'~. p-' m?/l ,---.1- ~.L.. n~ .71~ ,--.~ ~,,~ -.r .nza
p. m p p p p m p p
1 2 3 4 5 6
4 4
...ft. .~ n. - .... ... ..... - ....... -- .-A. .... - ... -
~ " ~ JII. !! ~ jill' ~ J ~ ...... ~ H.X H ~ ~ I~ .~ J~ ~ ~ .....
~ ~ ~ II! U" ~ ~ '! ~ "! ~ '! '! ."!
.. ! ! ~ !" ! ~ 1 ~ ..! ! .! ! ! ..! ..
.
• ~ e ~. ~ ~ ~ ""'. ~ ~ = ! ~ -!! ~ ...
....
,~ ~ .iIIii ~ ~i ~ ~ ~ ,,~ ~ ! v~ !- ~ " ~ ,jQ.
" v v v v v U v ., u v v v p m p

p

m p

pm. p

p m p

p

ma

The TechniqlU of Triplet Rasgueo. Lesson 2~

La Guitarra Flamenco

51

An Ending for Alegrias

--~--------~6-----

Ex.1

________ 6 ------.
I II1II _~ !l

L H"""'":I _4 '"'""'~
,..
~ ~ ~ ~ -i~ J III J '"'"
fl.ij 1t 2 ... - - - -- .... v~ ,1 ~ • II • ~ ~ ~ 4 • ~ ~...J f-;J j j ~~ .... d
- __ .... :. ~ •
- - -- 'Si ~ ~ ~~~ 'S J~ ~ ':sii zj Jill ~ 4
'S I ~ ~ ,~ - oW .J ~ t t ~.- -
"']i H-:s. ·J!I';; - - -- •
~ .rr~.L II , .. - - - i - :. I -4. ~ • I __ t-.. _ __ _ __ -
- -- -- • - ....... ~ .....
-, 1.1.. t.' _,,1 .... ... - ... - - .._. ~ .. .=. .~~ I"'=:I-- .=. 16-
\. • .. - • • r I '.- __
'" 11 J "'. - , -- - ~.-- -- --
f_ ! , • • ,. o~~ ~~ ~~'~~~4~ I~ '~~ ...... "" I ........... ~
"'\:!'V .... .... , • • • •
-0. • • • • • • ..
-~ P tTl. P P m P p m ,p p m p p p m ppm p pmppmpp
5 4 5 6
2 3
1 -
- R ~ - -
..... - iI.
- ~ .... ... ~ '! J ... u ~
... A. -- h .... ~., ~ ~ , ~~ ~ I
------ -- - ... I'-~I' ~~ ~ J \~ , ~~
~ - .. ...... - ~ v ,_ := ! ~ ~
n. - .. ~ I' ~.~ , ~~ : 1! ~
..... .... ~ 1:. I ~!" ! I ~ ~ , ,~ ~ ::. ~ ~ ~
~ , ~ 1! I ~ ~ !:' 2 :. ~ :! ~
:! ~ ~ ~ _~ ~ ~ ~ ~ "! !! ~ .~ ~
'!! 2: ~ ~ o 1! ~ ~ ~"~ ~ ~, ~~
f~ ~. '!' , ~~ ~ 'I f~ ~ ~,
:1 ~"! 1: ~~ IttIQ ~ ~ ~ ~f ~ ~ ~ , ,,~ ~ v
'If ~ ~ v v V v V V " v -u v " v
.., V v V V U u "U u
u 'U U v
m m p p m p p m p p 6

pmppmppmppmpp ~

p

p p

-rr=> 4
""1
n. "\ _\
j v .. .. ~ ~ j ~ _, • •
• ...
/ t _41 - ...
" .. -. ~ j j
1 __ .011IIII - -
I=- = .. 1~1- ..=. ...
0 .... "ho -4"'" ....
e a m· I
9 10 11 12
4
-- ._,
-
..... - ... ....
I ,~. I !'LV I ,~ ~, ~
.!_ :: ~ .~
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V ~!I: V U
•
e \ a m J 7

.... I. .&.

.J,

.. ... ...

p m p r .

The Technique o/Triplet Rasgueo" Lesson 2 ~ ,

. La Guitarra Flamenca

52

Scale Exercises for Picado

The following exercises provide practice material for developing the technique of picado to a high degree of accuracy and speed, They are not demonstrated on the video .. The first exercise is based on the C major scale .. In flamenco the most characteristic scale is related to the Phrygian modal scale, Major and minor scales are also used. The structure of these scales is explained in the appendices of Juan Martfri's Guitar Method, El Arte Flamenco de fa Guitarra, and is not described here.

Ex.l6

fl > I

~ r..... f!. 1'4 __ ....... 1\_

~~~. Ill....... ')0 ..1l..... 1 ~ .... I\ - ~ .. "']I ..n.-:~ • .., - ...n ..... .L,. v_

, .... v . ..n. " ~ __ n Z_IV ~...... L__.V. V_ Z _I.... v_ .., v- ..... -

., _ -I-- .-. _ ."-. .-~:Oi.'- ~Io, _Il. . ..t..- "".i'i .];_..... ~ ~ v. - v. -- .-

...... - 11-.~,"n..... .... ·Clo -., u............... .. ~ ---:" m J • m i m i m ., m etc ...

O .... ~I ... ~V~·~ i ~m· i m 1 ;, i m J m t m 1

i m t

>

>

>

>

>

> etc.

.... -- --

_ ...... V A _ V

.... ........ A

.... _ v .... _ V,Q _"., • .iIii.,. V ~ ~

.. _..._ -.. V M _ V .~ u v

Scale Exercises/or Picado. Lesson 2.

La Guitarra Fiamenca

S3

> > > > etc 4 ......

" - n 11 1 _ ,," 1 ...... 3• n 1 ..... 3 __ ..:3.1 ~It 3.1 _ n 1 ... 1'1· n - ~

I .. ~. ~ ~_ t 3_!ifi::::.'i_ ..... 1"1""'';''_ "'~ ~ ""., ~ . -vI( ~ ...... j; ..... - "'.L"_01 ~"" • .1_-t :1_.. .. ~

~ I ~ __ ._ -L~ _ --~ --!II"'" ...... - ~.-~ ~'.l_ ~· .. u_ . .., ._I~_~t-tr-+--f

II';~· . - ~ ~ - _'I ~ ~~.... I "'"'" _......... ~ Il..

v v --.....;; -1iiiIiiiiii!;; ~ ... ,........ -

., -i .; • - -..... ......... ~

.-,... . · .. .. m .. m I etc. ~

imim1ffl1.m

A A .. -'III .... ..ft. .... - -_ ... ,. ........ .ft

.. .no ....

1." ...... .., on.

(J'~ oj!

.. "..

" 'II

~

r-----------------------------------------~----~~~~----------~'.~-----------------~~----------~~~----------,

r-----------------------------~~------~--~----------------------------------~~--------------,~----------------,

fi ...... ----
-
\.I 1'\ 1- ~ ---- ...
~ v .. 1'l ln I_i'" n ......... .n ~ --
If .I "" -- ~ ......... J L )1"- i...... v ... -" -~ ,j "II ~ "i' .
~ J • - '. - ... .- -- ........... .u JI k. 11 ~ ""..... U "l I U ""J 'Il ":I
tJ s m , --. - • ~ - • V*,Z • ~- ~ , .. ".- L ti~ ~~~Jr ~ ~ ~ .G:;Y~. _. -~ __, '~~~ i;~~~Z. ,~-
1 m . -.. -. ...... .. ~ -1-::;'.:l ... -8
~,_ 4~UJ"" etc .
...
v h. ... ...... A A
~ V .- ~ u - ~ \I .. ..... ......
on. no .no .... ... ......
~ u ~ til .ill V ..J .!IiI V oft. ..:;II V .. ..... .., - ..... .- ........ ... .... .... .... ..- ..... -- - .. -
~ d' .. • <iIIiii V IjJI ... v .... "" v .- • v _ ... .... .. .- 'UI .. - M IIJI
lll- _, I. 'IJi .I. V ... ... 'Ill Continue ad lib.

La Guitarra Flamenco

Scale Exercises/or Picado, Lesson 2 .

•

54

The second exercise forpicado is based on the scale of A major, as usedinAlegr(as~

The important feature here is the triplets" where three notes are sounded in the space of one beat. Notice that the fingering of these is i In i for the ascending scale and m i m for the descending.

"J). -H:

~1-~~r~!!,L~l~~'~~~~----------~~~--~--~------~~-----~~a,r---~--~~------~--~----~~------_--9----~-T~~-~~~3-------~

.I l.L. f..J U' ~ ..... _ . ~~ ~

Ex.17

A f)

~ 1"-

"'0----

m ---

.. .. m

t m t

-

.~

:i'_ I l U z ... _

- 4_ '~ ~.. ...

m -- - ..

i m i m t

lr.J" ~I r. ....

"LJ ~

t.J

1

of

- ~ ~ o.

. oi· 2~ 4"! m i m 1:

,__ In. ~

I 4 rr-:::j -..1 I........... •

2 ~ ...... "-t- ... -+- .... ......-....Jo. ... ~ ••• - •

i;;'i·m t m i m i I" t

u ~

• t:. ••• ~ ".!'

111. • nl t

t m ~

r--------------------r------~----~--_4------~----------~----~~~----~+----------------_r----.~--~~----~

r--------------------r------------~--_4----~~~----~·f~--~----~----~_r----------~----~~~·----~--~

...

- ... -

"

.. v

U 'V u "'"

"I:

v

.. 11

A

•

v

.v

..

Scale. Exercises/or Picado. Lesson 2L

La Guitarra Flamenco

S5

II
fl~. it 3 3 - 3 -
- - ""'""
~ - -
I_ttl! j~ .... == r ... - .l - l1:li n .i. ~.- 1 "1-
J ... 2)1 .- l .... u_ . .... __ _ "l_.:::jIII( " - • • ~ U -- ...... - .... , "'"'"
~ U -
... . ...... - ~ ~
if; '" 11..4]1 I~ l_ II"} 14 I _I- I"_' .J 1_ - 1_ - .- I ... -
-fJIIl. •• - ~ -- --
~ 1I n I~":';'" 4. - ....... .- ..- • -
tJ '\10 ••• - - --- • .. .. • ~ • • ...-.I -
m .. imim I m J m t m t m 'I m r etc. --- a
i m i m 1 m 3 A I'L - ...

'III

- 6.

....

.-

...

... -

.. ....1'0.

U .iIIIII

... .... _ 'I.f

tlo vvv~

.& ,I. ~ -,jji.

fl tt 1±.a 1..- 3. n ---- 1 ••• _A 1.- --_
1\ .1- ..... J_- • -I"'""'" ~ ....... _o_
...... .... _ ~ v • "lI_ ""'" ""'" - •. "'l.- ~
I _~ Ill~ .. ~ ~- .... • ~-z_ ..... _-v • I"- \I. ~ - --
"" - "'"" -- ~ .
7 11 1_- •• "'"'" ~ ~ - 1
r, "\. ~ 1 - --
" ,) - '!]I ...: -
. ;:s. ..... Il.ol -- 3
tJ - 3 " • • .. ... --
8 m , m m • •
... t m~mJ m t mlml m ..
m t m 1. ill • •
ill .. " • mtmt m t
m ill • t m 1 • m I
t m f.
-- A .... .... - .... - - - ~ ...... .... .. ... - .... - ........... A
.... ..... - - • M 'i:j ~ u
v v ~ v f!;I, .... U 'U U ~ '"':t 0' iJ 0" '"I: 'JI;i 'U ... .. "t; ~ 'V - .. ....
.ft. .... ..... - - - - U -.lI ~
~ oIiiI oIiiI iii " '" '1.11
3

4

3

3

1

o

La Guitarra Flamenco

,

Scale Exercises/or Picado. Lesson 2.

56

... - - ....

--- ......... - ....

- - .... ~

...

O{- tt .~ _'!I
Ii iLll .
.... ."'i IJo ? -~ ~ ~
11 .... v "'"
f(;~ 11 ..t 1 If} 1 -
.'-V ....... ':.. f\ A lL:-- ~-- [J A n A .{ .1 l"1
-t_} - y. ~ - ---~ ~ .. q, Y •• -"'L.~ ~ ~._I- :2 ••• ~ <Ii iii Iu... - _I III- ~'" o:4i" ~~ -~ -,," 4i~
• • . .. --.O~ -
m1mt m • mimi 4-. ---. ~~ '- V Ir aii~"" ~
,
Continue
ad lib.


. ~ .. .til .... -- -, - - _.ft._.A-
'a- ... If ~ V .. "'" .A ... V _.._ ...a U' V V .... - .... . ~ .. #'L h .... on on ..... ..... .......... ""'-
... .. .&.I ~ -'II V "It~"I:~ v' ~ "'" .liI V .... 'I,f u v ... - v - - .
'I 'lit! ..ti. 't: ~ U ~ .. Scale Exercises for Picador Lesson. 2.

La Guitarra Flamenco

57

Scale Exercises in Compds

The following three exercises provide picado scale passages in the compds of flamenco toques. They can be used zs falsetas. The first, in A major, is a compds oi Alegrlas en La. The second, in E major, is a compos of Alegrias en Mi; thepicado scale passage starts on beat 4. The third compds is of Soled; the picado run, also starting on beat 4, comes to a dramatic stop on beat 10, with an apagado to cut off the sound, and the two following beats of 11 and 12 silent

Cornpas of Alegrias en La (in A major)

~ ""
:;;;.... ... ~
~ 1]0 ~-\. 4_.
fl,ij tl: ~
~ e::~ l'" 1-1 .J
- --
~~ tL 11 if:' ~ _,,_, :::;.~ .A ! _ ....... ~ lfl_ 1 1'- ... I ... -. ... L ,.. oil a
-
.~ 11 t I' .".-- ~~ 1.-. ~ .of =-"""'-101. IZ IV_ .- T 141 :1 I.
or, ""- II I c;... - -'l r4 l"'l ............ 1"'2 14F r~_~ 1- 14 1- H I~- . - <II I • .1'1. 1]1 .........
'\_ .... .I ..r...j ~ ·A U ."" ...... 1 .......... U A AI Itl 1"- ..... ~ - ~ . In Ii' __ . - .... '---r • ,. to
t.l "Z~.- -.~ f) -r...l.- v. - - i·"". -1
"'II 14 ....... ,_ - 4 IU.~_-
':;;. • - 4 m I etc.
• - · nt 1 - P
i m t
..... ........... .- ...
..... .... ... v~'V ":t o.J iw. ...... ~
~ ..... ""'- v ~ d - "" ..... "'"
......
. ,~ ... -'" ~ - .I. J(,r __ "'" M
ft _ .. ..o!IL .... .... ~ .. ..... -
.Lu~":a~ ~ V ~ --. .. v • ";I "'" ....
.A __ ... .... """
v "'" "t "II Y .c. "£ lIT
- ... ...
v ,iI:ii • 3

Ex.18

La Guitarra Flamenco

Scale Exercises in. Compds. Lesson 2.

58

Compas of Alegrias en Mi (in E major)

Ex,,19

~ -
j l;! -
~ ..-. '1- 1-
f_.;;;j
4~Z _, ~
~ \ 1 ::
4 2 o~ .. Q- , .;,
~ " 2 -0 ~ :--u
p p ..... .... .... ... 2 4 5 :4 2~O
)~-y 21' ~ y _...._ ..... oJ Y . 2~~O .-. ~
'! -:! ~ }! "'-I ":t "-i L. U'
-1 ~.
-r- _1:'1 ~ . "'" .........
~ ~;: .! ~ ~ --
"'" I.., "'" )~
-- - .......... ----.-..---....- .......... .{} 'I •••
-'I ~-----i---2 -~ -l----~--------+

-----~----~------

. .

I I rna p

Cornpas of Solea (Phrygian mode)

~ Ex.20

~ ..... .... .... -"'- .... ~ -
~~ ~ ,~ ~ ~ .. u .... _.ft._ " .... -LJ .1. U ...... - ... .... .. 10.
...
'U '! l~ A- _Q u .I. u .I -J .... \l .... .....
! ! ~ ~ . M V
oft ... .PI.
~ ~ l1li -.-.. M U - .... ..
.~. "'" u ~ u oAo -
U • ._. ~ v
.. J P
t - Scale Exercises in Compas. Lesson 2~

La Guitarra Flamenco

59

An Exercise in Ligado

Of the following exercise (Ex. 21 ) Juan Martin writes:

"This exercise I have designed to help with various factors:

(1) ligados, particularly fingers 3 and 4,

(2) square .. on position of left hand to fret board,

(3) independence of fingers,

(4) fingers on top of strings.

At first practise by placing fingers one by one, but when enough strength is developed try leaving the fingers down even when you have changed to the next string so that all fingers are down except the one practising ligado. This will make

La Guitarra Flamenco

An Exercise in Ligado. Lesson 2.

60

you even more square on and develop exceptional strength. Don't force fingers and don't tense up hands, arms or left shoulder: this can cause strains or serious injuries."

An Exercise in Ligado

Ex.2

r.
.I -9 "'" .... ..... -0 r..#,.
[{( v U" --u v '"' .. "' ..
~ r JI ~
u: .. r')",,:,,, "l "'l I;.) . 4 :i 4 I .011 ..... L • .01 ~:"i ~ .1. tl"T I ~1 1 L .....
tJ _.- -~~> j~> ",:< "" 'l+~' . .a.>,,+ hJ_m .~ ..... ~' ___ k __ lI! - .'[I.--'1{JI1l-"
f-"~'~~>·~F"~
V-~1-~ ~)l~~
] t4i~~"tf~~~~#-''' ®r:&l11 ~.~"II

p""'__" p...... ...... p p~ P all with thumb.i,


.!" - ...... _, .. -..._ .(' _ ......... .ft. .-""_ ........
.. ' ............ ..... /" - .......~ ~- ~ .,.- ................ ..L V ... ~ .l. &J U ~ '" .. tJ- ..
, ........ _' - ....._ _'" ... """';. .. ' - , .. .l. U ~ -"" J.. .c. Ik) M V • tlI "I:
... U ..I. .iIICiI -~ ,;II 'iii- .8 ~ . ~ ... An Exercise in Ligado. Lesson 2.

La Guitarra Flamenca

61


-- . _ .. J. 1 2 3 2 3 4·· 3 - . -···4

,.
~ ~ -"II <II '" n .4 ~ . ..1 1_ iii - - L'_.II- _ '. _ ' .. '.ff. b' • .ft •

,. ..... ;,. ...,. 1~ "r 4 n..c: llollr I' u ~ ,..:i_ It .I.. ~1_'.,jot.- :w.. __ oH' __ - " - ft' - '1 - ott - .... - ,,'1....· r 1l .;-
4 .1 n . l.." .. " ........ _".. ..,. _ 1.oIJ ..... h. .... _ Loll_ I • v... :t _. ).l_ lJ. lL'" - nll - off' -- ..,. - .oIf'--
- ... J.....F .
r. ~ ..... _ ·L..v ....... ""'_.... -"'11~"" Ljt - 10'[--11"'" .,.--
.... ..... J Tf .... T 1T ./_ ~ II _,.... .,

~11 ..,- -...,-~ .... - I" ... -. ~ ~.... ~
.. ) ~ -
-
-
:
-
.r ................ ;_ ....... _ ~"'" ~
-:: ... ....... ~ .. '..... ? .... ......... .... .A. V A A I. ok .,jJ H ...J ":i .J ~
. .... --:.. ;; _"III. -,A ..:" A .n. .,-r ... ........... .l V .L ~ ... ..4 tJ ..:iI oLt "S- .0 ":t
l V 1 ~. ~ ~ .) --zI v "i- .,J 't:
f'l 3. ~~ 3. 2 ~ 1 1J.$.2 ·~1

'.- . .4 ~ 4 1 3
.- - ..... -1'1. II"'J. .. '" 4 I"!I
I ... ..,- J' - -..,; - ..rr- :101- v-:JJl.. - --H' _ 1...- .H'.- L.._ ~l .... - /!_ I I 11"" I i 1 ~4 4 ~1 ~ ~ 1-
~
.... ~.... . ./ -tt- "'--H'- 11- n. - • IJ. 1.L. r:J_ U_ • ..- 1-.. _ to. - ~ -- "" .y. ___ o'"t 1.... 1 U. 1
"
...._ _.r ...._ 11 .J' ....... v./ T ..... -- ..- - v ...... .., ... v- ..... - """L.-. --It..- ..... rt.<lll k .... ..!!'t.- ~~~
I v- J
- ~ - - ..... J'..... ~ .... -~ - ./ ffW" ""'1--- -~.... ."L< ~
.., ......_........
~ ....---.... ~ -
... - ~
U .li "Ill .&. .I. z I ~ /" .......... ....- "'.... ~
S 4: S 2 S Z ~ oft. "III.
.. .I. "'" .l. u ... ....- ........ :'" -- -:
~ ~ .. ..;,. ... ..... :;.,
... -aJ """"'I' -J M tlI ~ J. --zi ,I V .I.

, La Guitarra Flamenca

An· Exercise in Ugado. Lesson 2.