The eighth episode of the Royal Guitar Podcast features a Belarusian guitarist and flamenco performer Sergey Roshchektaev.
The conversation covers various questions, associated with Spanish art popular throughout the world. What are the roots of this art? Is it possible to play flamenco music on a classical guitar and what will come of it? What is the essence of true flamenco? Can any guitarist play flamenco music as masterfully as the real “stars” of this style, such as Paco de Lucia or Grisha Goryachev, do? How should you listen to flamenco in order to hear and understand its essence? What are the main features that determine the professionalism of a guitarist playing flamenco music? Where can you learn to play flamenco guitar and what prevents you from mastering this style at a music school? How are flamenco guitarists taught in Spain? Is it possible to learn to play the guitar without knowing the notes? At what age can you start learning to play the guitar in flamenco style and up to what age can you do it? What layers of society and what nationalities were at the origins of flamenco culture? Did you know that flamenco colonies exist all over the world and the birthplace of flamenco, Spain, is inferior in the number of schools to some other countries?
The podcast features guitarist Sergei Roschektaev and.
the same Adams with the same Paco
http://www.youtube.com/watch?v=mHGv5FCS2j8
classic composition of the group Mr. Big
the first thing that appeared on request played themes of various nations, from Latin American Indian melodies to Arabic ones. But they played on flamenco guitar, we must admit that this is such a full-fledged instrument with a school and specifics that have developed over centuries. The point is not that you need to deal with one particular direction, you just need to somehow separate them, for this you just need to recognize its existence - in this case, flamenco guitar. I came across mainly 2 common opinions about the flamenco guitar: 1. “Oh - well, flamenco - of course - it’s something Spanish, there’s a “rasgueado” there! And if you dig deeper - yes, there’s also the Dorian mode - well Now everything is clear, all that’s left is to find the notes of Paco “Entre dos aguas”, play and master flamenco! you have to be born there, their fingers are different there, they absorb the “picado” with their mother’s milk. Yes, 6-year-old boys sit there and play passages no worse than Paco, where do we belong? Both stereotypes come from deep inertia and amateurism! It’s just kind of a shame for flamenco, because now there are a lot of opportunities to get acquainted with this art. There are a lot of manuals, videos of schools. In other countries (unfortunately, in Belarus) they play professionally, nothing interferes, there are real ones. flamenco schools with national non-Spanish flavor. Real flamenco. The point is in musical philosophy, which can enrich you if you get acquainted with it, not in the nation. This, in my opinion, is the ability to look at things more broadly, without fitting them into the habitual or putting labels like “not ours, we don’t need it” or “impossible, wrong genes.”
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Regarding Grisha Goryachev - I
Regarding Grisha Goryachev, if I were Roman, I would not put this name on a par with Paco de Lucia or other flamenco guitarists as an example of success. In the case of Grigory Goryachev, I would say, we are dealing with the phenomenon of “picadism” - a subtype of “technique” in flamenco. This is either a sport or a disease, I don’t know.. From the word “picado” - this, according to many, is fast passages in flamenco music, although in fact - picado is a playing technique when played with fingers i, m, or a in any sequence, placing the nail at a right angle to the top of the guitar, the finger pricks the string like a spear, the participle of the verb “picar” to prick and gives the word picado, which can be translated as “stabbing”, “pricking”. These are not necessarily passages; they can be a melody of any structure. The fact is that, trying to imitate the masters, some guitarists, not having the patience to get to the bottom of the deeper meaning, begin to improve the technique, putting it in first place. This is generally a special topic for conversation, I would talk about it separately, because this is a completely false path leading to a dead end! The world doesn't need another Paco, one is more than enough! How can finger sport be compared to the movement of the soul? These things are of different natures and have nothing in common with each other. You can express a musical idea in different ways; passages are just one of many. And the idea that flamenco guitarists compete among themselves in this “sport” are only amateurs, who are sometimes quite annoying, is deeply mistaken. Guitarists compete in richness, depth of sound, ability to express feelings, play with heart and soul. Like the performers on all the others musical instruments. Talking with guitarists-teachers at a flamenco school in Granada, I learned that they are well acquainted with the work of guitarist Sergei Orekhov, for example, they admire him, but the name Goryachev means little to them, although everyone has seen videos of his phenomenal passages, which are his main achievement Grisha, but this achievement is more likely from the field of a kind of “sport”.. There are other names of guitarists of the former Union recognized in the world of flamenco - Pavel Batalin, Anatoly Shevchenko, also Vladimir Slobodin, Yuri Bobylev and others, there are many of them now in Moscow, St. Petersburg, Kazakhstan . I'm not talking about the rest of the world.
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With rasgueado, in general, chords are played, but these chords in a flamenco guitar are rarely in their original form, to which many guitarists who play this instrument “a little bit” are accustomed to from the very first steps of mastering the instrument.
Let's use the following examples to see (and play!) how they can transform basic chords when playing them in the flamenco style (that is, the rasgueado technique). Moreover, let’s look at this using the example of a simple rasgueado, according to the gradual presentation of the material (let’s not rush, otherwise some of our visitors will not keep up with us).
True, now you will need to strike every eighth beat with your finger i alternately down and up along the strings. Check: once(strike down, starting from the bass string), And(strike from bottom to top on three strings) and so on - four times in one measure.
Example 1(basic chords):
Example 1: Basic rasgueado chords
Listen to 1 and understand its final tempo (and start learning at a slow tempo) and accents.
Pay attention to the chord diagrams and the placement of the left hand fingers in them (below the example title). A major chord (measure no. 4), which is denoted by a Latin letter A, should be taken like this: strings 4 and 3 are pressed simultaneously on the second fret with finger 1, and finger 2 presses the second string on the same fret (see diagram). In flamenco guitar I have not seen any other way of playing this chord in rasgueado.
Don’t forget to accent (highlight by volume) the down strokes on the count of “two”, “four”. And I also recommend not to be overzealous with the volume of the blows from bottom to top (try to do it as quietly as possible).
After studying example 1, move on to example 2, where the same chords are taken in a slightly different version in the second half of each measure (one sound changes), which gives the sound some harmonic animation and makes it more interesting to listen to.
Sheet music and tablature example 2(another version of basic chords):
Example 2: Changes in Basic Rasgueado Chords
Also, each chord can be checked according to the diagram (as we see, now we have two chords in each measure - the original and the modified). Changed sounds are highlighted in notes and diagrams with red dots. I think it will be difficult to make a mistake.
Listen and start playing it.
But that's not all. We can, in addition to what we have already done, diversify our rasgueado with melodic sounds on the first string (example 3). In this case, our example will sound even brighter than the previous one. We leave everything else as in example 2.
Example 3(adding melodic sounds to the harmonic progression of chords):
Example 3: Changes in basic rasgueado chords by adding high notes
The added sounds on the first string when played are indicated on the chord diagrams and in the sheet music by green dots. To get a melodic sound in the third measure you will need to take a barre.
Flamenco is an entire art that includes three components: dance, singing and guitar music. The style originated in Andalusia (Southern Spain). The gypsies who settled Spain along the coast of Andalusia in the 15th century added a lot to the development and propaganda of the style. According to their traditions, they began to study local musical customs, adding their own previously acquired nomadic life. This is how the music and dance style – flamenco – was born. The lifestyle of people leading a cheerful and reckless life, which was expressed poetically and musically. This is how the character of flamenco developed, consisting of a complex rhythm and specific performance technique.
Flamenco dances and songs are accompanied by guitar playing. In this case, the primary task of the guitar is accompaniment and the most important thing for staging the entire composition is the specific rhythm inherent in the flamenco style. And today flamenco is represented by a huge number of styles. Some of them:
A separate category is a combination of baile, cante and toke, that is, again, playing the guitar (toke), chanting (kante) and dancing (baile). Tocaorists - flamenco guitarists have the ability to improvise and have a good musical memory. Even today, most flamenco guitarists are not musically educated, so the art of a guitarist is usually passed on to the student from the master.
Any classical guitarist can learn flamenco guitar on his own. This is possible using existing teaching aids, music collections, where the technical techniques of the game are discussed in more or less detail, as well as using audio and video recordings.
At the beginning of training, you should remember that according to flamenco customs, the guitar should be placed on the right foot and the neck held closer to you (at an angle of 45 degrees). For convenience, when sitting, place your right leg on your left.
You also need to prepare the tips of your nails. right hand. In principle, all the “tricks” of choosing a shape and length do not differ from those adopted by classical guitarists. Possible distinguishing feature only that flamenco guitarists have slightly longer nails on the little finger and thumb of the right hand. This is necessary when playing with the thumb for a long time and performing long series of rasgeado techniques. All basic techniques of flamenco technique have a special rhythm inherent in each style:
An important point for flamenco is kicking the foot to maintain rhythm. Often, along with guitar accompaniment, rhythmic clapping is used to accompany dance and song.
When mastering the flamenco technique, remember to quickly change chords. Played at a very fast tempo, with the added rhythm of the bass strings played with the thumb.
Thus, if you do not set the goal of professional flamenco performance at a very high level, then any guitarist can master the technique.
Famous flamenco guitarists:
Paco de Lucia
The best Spanish flamenco guitarist and composer who brought world fame to the art of flamenco. He plays both classical and modern flamenco. Paco de Lucia has released more than 30 albums and participated in the recording of a huge number of discs by other artists. In 2004 he was awarded the Prince of Asturias Prize for the Arts.
Vicente Amigo
Spanish guitarist and composer, flamenco performer of the new generation, winner of the Latin Grammy Award in the category “Best Flamenco Album”. Works with the most famous musicians world - from Sting to Paco de Lucia, thanks to whom he once became a guitarist.
Dykhov Kirill - guitar teacher: flamenco, classical and acoustic; member of the Flamencomania team. Performs a concert program with a group or solo.
Guitar courses: flamenco, classical guitar and acoustics
Guitar classes are held in Moscow. The program for beginner guitarists includes:
- studying musical notation
- sound production and hand placement
- basics of flamenco rhythms (compass) for flamenco students
- chord construction
- analysis of works
- Features of working with vocalists and dancers in a group
- guitar improvisation basics
For students acoustic guitar, the program includes the study of accompaniment to singing pop songs.
General Spanish guitar courses from scratch and for advanced students
I invite you to individual guitar lessons, after which you will be able to master the instrument professionally and get a lot of pleasure from the playing process!
What will you learn in a guitar course?
- Music reading, reading tablatures
- Traditional and jazz chords
- Improvisation Basics
- Play works of various styles such as: flamenco, pop music, rock, classical
- Sing songs and accompany yourself
Schedule
Group classes: 5 minutes from Serpukhovskaya metro station:
- Daily: Monday to Friday. Day groups: 14.00-16.00, 16.00-18.00 Evening groups: 18:00-20:00, 19:00-21:00
- Saturday. 10.00-12.00, 12.00-14.00
- Sunday. 10.00-12.00, 12.00-14.00
Personal lessons: metro station Serpukhovskaya or Buninskaya Alleya
Please call for summer schedule!
About the guitar teacher:
Dykhov Kirill, flamenco guitarist. Education in the following areas: classical and flamenco guitar, electric guitar, composition and flute. I started playing music at the age of 7, and continue to do so to this day. From 1999 to 2005 he worked as a guitarist in various pop-rock bands. Since 2004 I have been playing flamenco guitar professionally. He took guitar courses with Spanish flamenco guitarists: Jorge "El Pisao" (Granada), Juan Ramirez (Seville), Quecuty Sergio (Cadiz).
A Brief History of the Flamenco Guitar
The characteristic sound of the flamenco guitar is difficult to confuse with others. Its features are sensuality, expressiveness and complex rhythmicity. A flurry of notes and a free manner of playing create a unique passion and emancipation of performance. At the same time, flamenco remains a restrained and even strict genre of music, thanks to the peculiar sharpness of the sound. Despite the fact that the birthplace of all guitars is Spain, the flamenco guitar can rightfully be called a traditional national instrument. Since the mid-1800s, Andalusian craftsmen have offered a wide range of such instruments. This guitar is smaller than a classical one. It is much lighter because it is made of cypress (the “blank” model). Another design difference between a flamenco guitar is the plastic or plate on the top soundboard, the so-called golpeador. Hitting the plate with the guitarist's fingernail is called the golpe technique.
Today, the Spanish guitar is a favorite instrument of many composers, since the introduction of its sharp sound into any work allows you to fill it with new colors. The most typical flamenco guitarists of the 20th century are Sabicas, Paco De Lucia, Moraito, Tomatito, Vicente Amigo, Paquete, Diego Del Morao and others. If you love the smooth graceful movements of women's bodies, the drama of the performance, unbridled rhythms, entertainment and sensuality of this style will definitely appeal to you.
“Fire dying to be born is flamenco!”
Jean Cocteau
