Well - the Fandango and Sevillana but have lasted a little longer. a) it was because the Tresillos just not as easily come to play them, b) I tried GGM * about to speak, after he sang to me via iChat video the Fandango and Sevillana and has vorgepielt to publish them on the blog. This he wants but under no circumstances, as his 'chanting' (O-Ton) would be embarrassing. I think it sounds great respect, but of course his position.
Although the melody of the Fandangos and Sevillanas on the DVD is heard, it is one to grab at least for me, difficult to 'letras' in the note sequence. Between notation and reproduction is still just a big difference, especially as regards the 'voz' (vocal). My guitar teacher (Jazz) always asked first, before getting a line, theme, or lick on the guitar, played her / it to sing first. Initially annoying that, but later the importance of a well aware. "A musician who is not ready to sing, can not stop immediately," was / is his opinion. As I do from time to time in the school band to the micro and entered on each party to the guitar oldies sing, that makes me to sing fun, I will just also at least be able to sing the folk flamenco pieces - I have not even made public. So it was a great help to me was that RCD. Now I exercise vigorously, to get my voice and my Tresillos under one roof - and how RCD said at the moment where the guitar is a side issue, so the song the main thing, and suddenly it sounds on the guitar. In addition, he recommended me a very good book 'Guia del flamenco', which describes all of Palos and be heard on two enclosed CD are. This book was published by Andalucia.org , which also have a web site where are these Palos heard in short form - (click on the region of Huelva) Palos . The examples are quite authentic, I mean without modern Instrumentierungskram. By the way: It is not necessarily an advantage that it uses the available language versions - for example, is still in the German version 'Palos', ie styles / genres with "wooden sticks' translate :-))
Very well, I also think the example here:
The second Cantaor me is a bit too much melodrama, too emotional, because I can see the parallels to some Lyrics in Blues: "I bought her diamond rings but she left me." Especially in his second Fandango I had the text and its Gestig smile because something "because I've cried so much - the glass is full" (yes - I know, in English, it sounds much nicer). But the end, when the choir sings Fandango de Alosno is mega-good. In general I like Alosno best (see / hear Camaron: Calle Real ), especially as the Andalusian / Huelvanos pronounce it: Alohno - with a breathy 'h'. to find
Traditional Sevillanas is a bit difficult. Mostly they are verdöddelt terrible that it is almost unbearable. Work in general I go techno samples and push buttons on the cookie-fuss crass, no matter the music, but our Andalusian friends it seems like they have sometimes lost all measure. listen
In search, the Sevillanas 'Sueña la Margarita' of RCD's to flamenco school in the original, I've found here at iTunes: (1) Los Amigos de Ginés and from the CD ' (2) Raya Real - Sevillanas para bailar . The 25-Sec Sample is sufficient for a copla heard. Who's like - now's can go.
*) Gerhard Graf-Martinez
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