I'm a little scared to request a tab for this being as it may offend the 'old school' idea but I cannot find this anywhere its the single piece I listen to the most and would really like to start playing it since it'll take a few years i'm sure. Does anyone have or know where I can find a score or tab for this gem? Any ideas can be helpful.

Tortajada wrote:I'm a little scared to request a tab for this being as it may offend the 'old school' idea but I cannot find this anywhere its the single piece I listen to the most and would really like to start playing it since it'll take a few years i'm sure. Does anyone have or know where I can find a score or tab for this gem? Any ideas can be helpful.

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Hi Totajada,

I am not familiar with Calle Municion, but if I were, I would be most happy to share it with you. I do not find your request to be offensive. Who performs it?

Doog

El Viejo 77 wrote:I am not familiar with Calle Municion, but if I were, I would be most happy to share it with you. I do not find your request to be offensive. Who performs it?

Doog

Calle Municion is in Paco de Lucia's "Luzia" album that was released in 1999.

-Bob

Hola Tortajada:

There is a man in France called Alain Faucher and his web site is calles affedis.

He has written a huge amount of flamenco and a great amount of Paco de Lucía so maybe he has it. I am not sure but maybe he could also transcribe pieces for people specifically. I guess one could ask him.

He speaks Spanish perfectly and French of course; about English I am not sure.

Good luck with it and once you have it and have found out how to play it then it would be nice ( provided that it is the foro wish) if you wanted to upload your playing here.

Saludos cordiales

Tomás

This is not the question you ask here so I hope you will not mind too much if I open an idea.
My question:

Is it really correct to define Paco de Lucía and his work as a representative or even the maximum representative of the modern flamenco Nuevo/jazzmenco/fusion etc way of thinking about flamenco?
When I first heard Paco de Lucía which must have been very early 1970’s I thought that he was so flamenco. It was as if he was tearing emotion out of his guitar.
I remember feeling that his record recorded live in the Teatro Real in Madrid showed not only phenomenal technique but also enormous emotion.
For example other guitarist had played Tarantas and Granaínas that were beautifully sad which is great of course. But Paco de Lucía made these pieces despairing. It was like you were witnessing some kind of death of some creature.
He was an intelligent composer of course and he thought of chords and harmonies that I certainly had not heard very much before although I am aware that some people say that he developed some material of Sabicas.
But even with that intelligence the sentiment seemed muy flamenco.
Now maybe it is a little different. Maybe he has chosen to really be interested in other musics away from flamenco.
But if that is true then would it perhaps be correct to say that Paco de Lucía is a flamenquísimo guitarist who has decided to play other music too?
I would be interested to hear other opinions.

Saludos

Tomás

It is true that Paco de Lucía was a fantastic flamenco guitarist up until the early 1970's. Since that time he has radically deviated into music that has only fleeting resemblances to flamenco. The problem those who like traditional flamenco have with his music is not so much with the music itself, although many don't like most of what he has played since the 1970's, but rather it is that so many young players have grown up suffering from the illusion that the music he and his followers have played the past 30 to 40 years is flamenco. Most criticism of PDL's recent music would vanish if it was called anything other than flamenco. Some who like true flamenco might even learn to enjoy some of it if it wasn't marketed as flamenco.

-Bob

TomasJimenez wrote:
Would it perhaps be correct to say that Paco de Lucía is a flamenquísimo guitarist who has decided to play other music too?
I would be interested to hear other opinions.

Saludos

Tomás

Yes, PdL is a master flamenco guitarist, however most of what he has played and gained fame for isn't real flamenco in my opinion. We can say he is a flamenco guitarist, but I question if we could refer to him as a flamenco, because his interest are other than flamenco, even though his roots were flamenco guitar. He is a master guitarist catering to modern popular trends. I do not think of him now as a flamenco guitarist. I think of him in the past as being one, but not now. He could easily return to his roots, but that isn't likely to happen.

Here is a question ... Why is it important for a virtuoso flamenco SOLO guitarist to play in compas? Compas is so others can perform together, so why does it matter if a composition is in compas or not if it is solo on stage with no palmas, cante, or baile? This bring up another question ... Is solo flamenco guitar really flamenco in itself?

When I think of flamenco, I think of an old guy that looks like an escapee from the nursing home, wailing like he has serious prostate issues, an old overweight woman poorly dressed in everyday attire leaving her housework in the kitchen to join the singer in another room with some improvisational dance, and another old guy poorly shaved and unkempt hair, playing an old tangy buzzy guitar with a well worn golpeador. After an hour of Bulerias, followed with a Solea, the woman stops dancing and sits down to sing a Siguiriyas hoping to dampen the fiesta mood so she can finish her work. The old singer rises to take over the dancing but tires quickly and sits back down to finish his cigarette and wine. The two men start talking and the woman returns to her work. The two men decide to go down to the bar and get a little gusto and see if a fiesta is in the days plan. That's my idea of real flamenco.

Bob and Sam have put their finger(s) on a constant problem with today's "flamenco". Actually, it's a problem that may have had its roots in the early solo guitar recitals of Ramon Montoya and the other gifted accompanists of their era, and has gotten more serious as the years pass.. The situation is that it is much easier to gather an increasingly larger and larger audience for flamenco guitar than for cante, because cante flamenco is not really the kind of singing that appeals to large numbers of people, especially people unfamiliar with Andalusian and/or gitano life, culture, language. The voices are often harsh, gutteral, shrill, raw; the language indecipherable and uncouth-sounding. Sam's evocation of his elderly trio of authentic flamencos is spot-on: that's what cante often suggests, and, for today's audience, it's not a pretty or understandable picture. My mother would always complain about the "chicken strangling" sounds coming out of my room when I played my cante LPs these many years ago; my wife hates the sound of cante, and I understand their antipathy completely. Cante really is for the few, whereas guitar is for the many.

Now comes a genius like Paco de Lucia, and he can lead away a constantly enlarging number of people drawn to the romance of the guitarist, smiling mysteriously as he plays his "flamenco". Most of those who post on flamenco websites are guitarists or wannabe guitarists, and they often appreciate what Paco and his ilk can do, and are willing to be led anywhere he leads them. They admire him, and tell others that this is flamenco. If he calls what he plays "flamenco", then, for them, it's flamenco.

But I think, I hope, most aficionados, informed aficionados, understand that flamenco is cante, was cante, will always be cante, and that the role of the guitarist is to provide careful, supportive, collegial accompaniment to the singer. Like Bob, I would have no problem with "flamenco" guitar solo playing, if it could be given another name entirely. I wouldn't listen to it with any pleasure myself, but, with a new name, at least it wouldn't continue (along with the Gypsy Kings, etc.) to confuse and mislead the uninformed audience that it was listening to flamenco.

Carlos

Hola Amigos

A few years back in Spain Gerardo Núñez was introduced on Spanish television as el guitarrista español and that must have been referring to his style of playing not to his nationality. Perhaps something like Spanish/Latin/Hispanic might work to describe some of the recent trends although there was always the term aflamencado.
What do you think?
Saludos

Tomás

TomasJimenez wrote:Hola Amigos
Perhaps something like Spanish/Latin/Hispanic might work to describe some of the recent trends although there was always the term aflamencado.
What do you think?

I would add Jazz. I think "Spanish/Latin/Hispanic/Jazz" fusions with traces of various other things much more accurately describes recent trends than the name "flamenco." Modern players of that music often argue that jazz lovers wouldn't consider their music to be Jazz. That may be true, because it isn't purely Jazz, Hispanic, Latin, Spanish, Flamenco or anything else. It is an alphabet soup where anything that strikes the fancy of a cook is thrown in and it is called Flamenco.

Lucas