Guitar players from generation after Paco de Lucía
Analysing: Bulerias
Guitar: Cypress
Performing position: Crossed leg. Same as Paco de Lucia.
Harmonic Analysis
Key |
Chords used |
|
|
gm (Capo 1)* |
Im |
|
bII |
|
|
|
IVm, #IV, #IVm |
|
Vm, V7b9 |
|
VI7, bVI7maj |
|
bVII7, natVII, natVII4+ |
|
Auxiliar Dominants: V/IV |
|
Substitute Dominants: none |
*Positional use of this key (4 por medio without capo) was an innovation by Paco de Lucia in Gitanos Andaluces (One Summer Night, 1984, Track 5) Check the following Paco de Lucia video from min 1:42.
General Analysis
Min |
Issue |
Paco de Lucia’s innovation in |
|
|
Song
(click on it to go to the track) |
Track |
Album |
0:07 |
Use of chord bVI7maj |
Piñonate min 1:25 |
7 |
Solo quiero caminar (1981) |
0:18 |
Use of chord bII |
Gitanos Andaluces min 3:00 |
2 |
Castro Marin (1981) |
0:23 |
Use of chord natVII, natVII4+ |
Gitanos Andaluces min 2:38 |
2 |
Castro Marin (1981) |
0:26 |
Use of chord #IV |
Gitanos Andaluces min 1:51 |
2 |
Castro Marin (1981) |
0:58 |
Use of chord Vm |
Gitanos Andaluces min 0:20 |
5 |
One Summer Night
(1984) |
2:25 |
Use of chord #IVm |
Esclavo de tus besos min 2:05 |
2 |
Calle Real (1983) |
2:26 |
Tapping I down |
Gitanos Andaluces min 4:51 |
2 |
Castro Marin (1981) |
2:42 |
Rasgueo P up A P down |
Almoraima min 2:20 |
1 |
Almoraima (1976) |
3:45 to 3:52 |
Añadido* |
Esclavo de tus besos min 1:16 |
2 |
Calle Real (1983) |
4:00 |
Remate P up MA down P up tapping A with flesh |
Esclavo de tus besos min 3:22 & Na es eterno min 4:26 |
2
6 |
Calle Real (1983) |
4:28 |
Use of chord bII |
Almoraima min 3:53 |
1 |
Almoraima (1976) |
* Conclusive phrase that the musician inserts at the ending point of a melodic line which has been developed and brought to the climax. It’s a kind of remate (emphasized end of melodic phrase) and can be used for cante (singing) accompaniment or falsetas (melodic variations of the guitar). It is an innovation of Paco de Lucia. He included it for the first time in the history of flamenco with cante (singing) in: Esclavo de tus besos (Calle Real, 1983, Track 2, min 01:16) and Na es eterno (Calle Real, 1983, Track 6, min 00:34, 01:53, 02:48, 03:34) and in a falseta in Na es eterno (Calle Real, 1983, Track 6, min 03:59) and without cante in Tumbona (Solo Quiero Caminar,1981, Track 2, min 03:09)
Arrangement: Guitar and palmas (handclaps) as rhythmic reference while a guitar solo is being played innovated by Paco de Lucia in Piñonate (Solo quiero caminar, 1981, Track 7)
Analysing: Bulerias
Guitar: Negra (Rosewood)
Performing position: Crossed leg. Same as Paco de Lucia.
Harmonic Analysis
Key |
Chords used |
|
|
em (Capo 2 por medio) |
Im |
|
|
|
bIII |
|
IV, IVm |
|
V, V7b9 |
|
bVI |
|
bVII, bVIIm |
|
Auxiliar Dominants: V/IV |
|
Substitute Dominants: V/bIII |
General Analysis
Min |
Issue |
Paco de Lucia’s innovation in |
|
|
Song
(click on it to go to the track) |
Track |
Album |
00:09 |
Use of chord IV |
Gitanos Andaluces min 0:32 |
2 |
Castro Marin (1981) |
1:14 |
Use of chord bVIIm7 |
Piñonate min 2:31 |
7 |
Solo quiero caminar (1981) |
1:25 |
Copy of melodic phrase, chord progression |
Gitanos Andaluces min 4:49 |
5 |
One Summer Night (1984) |
1:31 |
Rasgueo A I down I up |
Almoraima min 3:31 |
1 |
Almoraima (1976) |
2:32 |
Subs dominant bV/bIII |
Gitanos Andaluces min 2:32 |
2 |
Castro Marin (1981) |
3:16 |
Copy of picado (scale) |
Yo soy el viento min 0:29 |
4 |
Calle Real (1983) |
4:31 |
Tapping I down |
Gitanos Andaluces min 4:50 |
2 |
Castro Marin (1981) |
Arrangement: Guitar and palmas (handclaps) as rhythmic reference while a guitar solo is being played innovated by Paco de Lucia in Piñonate (Solo quiero caminar, 1981, Track 7)
Analysing: Bulerias
Guitar: Negra (Rosewood)
Performing position: Crossed leg. Same as Paco de Lucia.
Harmonic Analysis
Key |
Chords used |
|
|
g#m* |
Im |
|
II7 |
|
bIII |
|
IVm |
|
Vm, V7b9 |
|
bVI7, bVI7,9, bVI7maj |
|
natVII, bVII |
|
Auxiliary Dominants: V/bIII, V/IV |
|
Substitute Dominants: none |
*Positional use of this key (6 por medio without capo) was an innovation by Paco de Lucia in Soniquete (Zyriab, 1990, Track 1)
General Analysis
Min |
Issue |
Paco de Lucia’s innovation in |
|
|
Song
(click on it to go to the track) |
Track |
Album |
0:41 |
Use of chord aux V/IV to IVm |
Tumbona min 4:02 |
2 |
Solo Quiero Caminar (1981) |
0:43 |
Use of chrd aux V/bIII7maj |
Gitanos Andaluces min 2:27 |
2 |
Castro Marin (1981) |
4:23 |
Tapping I down |
Gitanos Andaluces min 4:50 |
2 |
Castro Marin (1981) |
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)
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 |
|
|
fm (Capo 3 por medio) |
Im |
|
|
|
bIII, bIII7 |
|
IVm, IVm7b5 |
|
V7b9, V7 |
|
bVI, bVI7, bVI7, 11+, 9 on 5 |
|
bVII, bVII7 |
|
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 |
2:46 |
Tapado |
Almoraima min 00.02 |
1 |
Almoraima (1976) |
3:06 |
Imitation of phrase |
Tumbona min 2:36 |
2 |
Solo Quiero Caminar (1981) |
3:07 |
Imitation of melodic line |
Passion, Grace & Fire min 00:03 |
6 |
Passion, Grace & Fire (1983) |
3:10 |
Misapplied blues phrase. Inclusion of foreign expressive elements on flamenco phrasing |
Montiño (Fandangos)
Min 0:04 (Usage of whole tone scale. Paco de Lucia has never used pentatonic scale) |
4 |
Solo Quiero Caminar (1981) |
3:17 |
IVm7b5 |
Calle Real (Fandangos) min 2:19 |
5 |
Calle Real (1983) |
3:55 |
bVI7, 11+, 9 on 5 |
Gitanos Andaluces min 00:22 |
5 |
One Summer Night (1984) |
5:53 |
Rasgueo |
Almoraima min 03:05 |
1 |
Almoraima (1976) |
6:42 |
Finale |
Almoraima min 1:58 |
1 |
Almoraima (1976) |
Arrangement: Guitar and palmas (handclaps) as rhythmic reference while a guitar solo is being played innovated by Paco de Lucia in Piñonate (Solo quiero caminar, 1981, Track 7)
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