Guitar players from Paco de Lucia’s generation
Analysing: Bulerias
Guitar: Cypress
Performing position: Crossed leg. Same as Paco de Lucia.
Harmonic Analysis
Key |
Chords used |
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|
fm (capo 3 por medio) |
Im |
|
|
|
bIII |
|
IVm |
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V7b9 |
|
bVI7 |
|
bVII |
|
Auxiliar Dominants: none |
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Substitute Dominants: none |
General Analysis
Min |
Issue |
Paco de Lucia’s innovation in |
|
|
Song
(click on it to go to the track) |
Track |
Album |
0:01 |
Beginning with muted guitar accompaniment |
Almoraima min 0:01 |
1 |
Almoraima (1976) |
0:41 |
Use of chords Im, V7, bVI, bVII copied melodically and harmonically but played 1 octave lower using the nat6. |
Gitanos Andaluces min 3:56 |
2 |
Castro Marin (1981) |
1:01 |
Melody with the same rhythmic pattern as in Almoraima. |
Almoraima min 0:18 |
1 |
Almoraima (1976) |
1:53 |
Remate (Conclusive phrase of a melodic or rhythmic passage) |
Almoraima min 3:25 |
1 |
Almoraima (1976) |
2:19 |
Use of chord IVm |
Almoraima min 0:18 |
1 |
Almoraima (1976) |
2:24 |
Copy of melody and chord progression |
Tumbona min 2:07 |
2 |
Solo Quiero Caminar (1981) |
|
|
|
|
|
3:21 |
Copy of Almoraima’s theme, rhythmically, melodically and technically (alzapua) |
Almoraima min 0:06 |
1 |
Almoraima (1976) |
3:34 |
Remate (Conclusive phrase of a melodic or rhythmic passage) |
Tumbona min 2:07 |
2 |
Solo Quiero Caminar (1981) |
4:59 |
Tapping I down |
Gitanos Andaluces min 4:50 |
2 |
Castro Marin (1981) |
Arrangement: Solo guitar and muted guitar like in Almoraima (Almoraima, 1976, Track 1, min 0:02)
Analysing: Bulerias
Guitar: Cypress
Performing position: Crossed leg. Same as Paco de Lucia.
Harmonic Analysis
Key |
Chords used |
|
|
am (por arriba al aire) |
|
|
|
|
bIII |
|
IVm |
|
V, V7 |
|
bVI |
|
b VII |
|
Auxiliary Dominants: V/V |
|
Substitute Dominants: none |
General Analysis
Min |
Issue |
Paco de Lucia’s innovation in |
|
|
Song
(click on it to go to the track) |
Track |
Album |
0:34 |
Use of chord IVm |
Almoraima min 0:19 |
1 |
Almoraima (1976) |
Arrangement: Guitar and Palmas (handclaps) as rhythmic reference while a guitar solo is being played, innovation by Paco de Lucia in Piñonate (Solo quiero caminar, 1981).
Analysing: Bulerias
Guitar: Cypress
Performing position: Crossed leg. Same as Paco de Lucia.
Harmonic Analysis
Key |
Chords used |
|
|
em (capo 2 por medio) |
|
|
|
|
|
|
|
|
V7 |
|
bVI7 |
|
bVII7, bVII7,9 |
|
Auxiliary Dominants: none |
|
Substitute Dominants: none |
General Analysis
Min |
Issue |
Paco de Lucia’s innovation in |
|
|
Song
(click on it to go to the track) |
Track |
Album |
0:08 |
Rasgueo ch A M I I down (Sabicas min 0:43) |
|
|
|
0:20 |
Falseta copy from Sabicas. Tapping A with nail (Sabicas 0:17) |
|
|
|
0:28 |
Remate (Conclusive phrase of a melodic or rhythmic passage) |
Almoraima min 2:23 |
1 |
Almoraima (1976) |
0:39 |
Falseta Sabicas |
|
|
|
9:20 |
Rasgueo P up A down P down |
Almoraima min 2:20 |
1 |
Almoraima (1976) |
|
|
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|
Note: In min 2:14 he says that the remate should end on the 10th beat of the 12 beat compass, nor after, not before, opposite to Paco de Lucia’s innovation of ending the remate before the 10th beat, that is, exactly on or after the middle point between the 9th beat and the10th beat as shown in Na es eterno (Calle Real, 1983, Track 6, min 3:04 and min 4:02).
Arrangement: Solo guitar.
Analysing: Bulerias
Guitar: Negra (Rosewood)
Performing position: Resembling Paco de Lucia’s crossed leg position. The right leg is at the same level as if it would be crossed over the left.
Harmonic Analysis
Key |
Chords used |
|
|
Am |
Im |
|
bII |
|
bIII |
|
VIm |
|
V7, Vm |
|
bVI7, bVI7maj |
|
bVII7, natVII |
|
Auxiliary Dominants: none |
|
Substitute Dominants: none |
General Analysis
Min |
Issue |
Paco de Lucia’s innovation in |
|
|
Song
(click on it to go to the track) |
Track |
Album |
1:26 |
Use of chords V7, bVI, bVII |
Almoraima min 3:25 |
1 |
Almoraima (1976) |
2:25 |
Use of chord bII |
Almoraima min 3:53 |
1 |
Almoraima (1976) |
3:04 |
Tapping A with the nail (like Sabicas) min 0:17 |
|
|
|
3:59 |
Rasgueo P up A & I down |
Almoraima min 3:05 |
1 |
Almoraima (1976) |
Arrangement: A)Guitar, B) Palmas (handclaps) as rhythmic reference while a guitar solo is being played innovation by Paco de Lucia in Piñonate (Solo quiero caminar, 1981, Track 7); C) Caja as a rhythmic reference, innovation by Paco de Lucia in Gitanos Andaluces, (One Summer Night, 1984, Track 5)
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