Flamencoblues wrote:I definitely would like to hear/see more of your playing and guitar.

About ten months ago I started having intermittently-severe joint and muscle pain that often makes it impossible to play. I have been to a long series of specialists in various medical fields and have an appointment with another one on Tuesday. I am hoping all that will eventually lead to an understanding of what is going on. Occasionally I feel great and can play fine, except for being out of practice, but I never know what my condition will be from one day to the next or sometimes even one hour to the next.

Around the time those pains started I had undertaken a serious effort to learn to play and write accurate standard music notation and tabs for some of Diego del Gastor's typical falsetas. I have continued with that from time-to-time on good days, but at a much slower pace than originally envisioned. I have learned to play a lot more than I have written music for, because writing precisely-accurate complex music is tedious and time-consuming compared to merely learning to play it. Even so, I think the group will be interested in seeing what I have written and hearing it played when I am feeling well enough to record and post it.

-Bob

I neglected to mention in the post above that I also have been doing the same for Diego de Morón (Diego Torres Amaya) falsetas. Of course, most of his falsetas are fundamental similar to those played by Diego del Gastor, but often with subtle variations that have profound effects. Forcing myself to carefully measure and otherwise analyze everything about each individual note, the precise time duration to the following note, the way it was picked with the right hand or sounded with the left hand, its loudness, and the amount of time it was allowed to ring led to interesting insights into the Morón playing style that aren't very obvious just listening normally to the music.

I will explain and demonstrate exactly how I am doing that note-by-note analysis and you will see from that why I can be confident that the music I am writing is precisely accurate. If you play that music exactly as written, you will sound like Diego del Gastor or Diego de Morón. However, to play it as written you must read both the standard music notation and the tabs, because neither one alone is robust enough to fully convey how to play the music.

-Bob

I would be very interested in hearing and seeing the results of your project. For those interested but perhaps not well studied in the Moron style, I would like to point out that this style of flamenco is still mainly an oral tradition with the Gastoreaa family. It is a spontaneous art, nothing choreographed or established as the only way to perform it other than compas. Most of the families guitarist never play anything exactly the same. The Moron style is based on cante. If one plays a solo guitar interpretation of a palo, then it must reflect the same feeling as if one was singing.

Since the topic here is tremolo with the mention of Moron style, I am posting my 6 minute Solea intro which includes a tremolo of a sort. When this was recorded this morning, I was focusing on getting the compas correct and conveying the feeling I wanted to express. The one falseta that I got from a Diego dG recording was hard to connect to the preceding rhythm using the tremolo and arpeggio arrangement that DdG used, so I came up with my own based on a basic Solea melody. Most times I play it a bit smoother and it is much more pleasing, but recording today the focus was mainly on establishing an accurate driving compas before 5 minutes of Moron style falsetas with short connecting rhythms started. I will record the falsetas later when I get them cleaner and more accurate. This could be easily written out in music notation, but I don't seem to find the time as I am slow at it these days. A few Moron falsetas cannot be written out in music notation accurately.
Solea Intro.mp3