Guitar players from the young generation
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 |
|
II7 |
|
bIII7 |
|
IV, IVm |
|
V7b9 |
|
bVI, bVIm |
|
bVII7, bVIIm, natVII7 |
|
Auxiliary Dominants: V/bIII, V/V, V/bVII |
|
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 |
Use of chords: Im, bVIIm, bVIm |
Piñonate min 2:31 |
7 |
Solo quiero caminar (1981) |
0:37 |
Use of chords V/V |
Almoraima min 2:42 |
1 |
Almoraima (1976) |
1:26 |
Melody in higher octave |
Tumbona min 2:07 |
2 |
Solo Quiero Caminar (1981) |
1:34 |
Rasgueo A I down I up |
Almoraima min 3:31 |
1 |
Almoraima (1976) |
2:52 |
Tapping I down |
Gitanos Andaluces min 4:50 |
2 |
Castro Marin (1981) |
3:16 |
Use of chord IV |
Gitanos Andaluces min 0:24 |
2 |
Castro Marin (1981) |
4:08 |
Copy of melody and harmonic progression |
Piñonate min 2:31 |
7 |
Solo quiero caminar (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 |
|
|
fm (Capo 3 por medio) |
Im |
|
IIm, bII |
|
bIII |
|
IVm |
|
V7b9 |
|
bVI7 |
|
bVII7, bVII11+ |
|
Auxiliary Dominants: V/bVII |
|
Substitute Dominants: None |
|
|
General Analysis
Min |
Issue |
Paco de Lucia’s innovation in |
|
|
Song
(click on it to go to the track) |
Track |
Album |
0:13 |
Use of IVm |
Almoraima min 0:19 |
1 |
Almoraima (1976) |
0:55 |
Use of aux. V/V |
Almoraima min 2:42 |
1 |
Almoraima (1976) |
1:22 |
Use of bII |
Gitanos Andaluces min 3:00 |
2 |
Castro Marin (1981) |
1:30 |
Rasgueo A I down I up |
Almoraima min 3:31 |
1 |
Almoraima (1976) |
2:29 |
Finale |
Almoraima min 1:58 |
1 |
Almoraima (1976) |
2:40 |
Tapping I down |
Gitanos Andaluces min 4:51 |
2 |
Castro Marin (1981) |
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 |
|
|
f#m* |
Im |
|
|
|
bIII7 |
|
IVm |
|
V7b9 |
|
bVI7 |
|
bVII7 |
|
Auxiliary Dominants: V/bVII |
|
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 |
0:11 |
Imitation of melodic line |
Passion, Grace & Fire
min 00:03 |
6 |
Passion, Grace & Fire (1983) |
3:34 |
Rasgueo A I down I up |
Almoraima min 3:31 |
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)
Analysing: Bulerias
Guitar: Cypress
Performing position: Crossed leg. Same as Paco de Lucia.
Harmonic Analysis
Key |
Chords used |
|
|
f#m* |
Im |
|
II7 |
|
bIII7, bIIIm |
|
IVm, #IV |
|
Vm, V7b9 |
|
bVI7, bVIm |
|
bVII7, bVIIm, natVII |
|
Auxiliary Dominants: none |
|
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 |
0:39 |
Use of chord #IV |
Gitanos Andaluces min1:51 |
2 |
Castro Marin (1981) |
1:34 |
Enters violin |
Calle Real (Fandangos) min 0:01 |
5 |
Calle Real (1983) |
2:37 |
Rasgueo P up A down P down |
Almoraima min 2:20 |
1 |
Almoraima (1976) |
2:49 |
Rasgueo P up A & I down |
Almoraima min 3:05 |
1 |
Almoraima (1976) |
3:09 |
Use of degrees bVIm and bVIIm |
Piñonate min 2:31 |
7 |
Solo quiero caminar (1981) |
3:14 |
Use of chord bIIIm |
Calle Real (Fandangos) min 1:33 |
5 |
Calle Real (1983) |
3:51 |
Modulation to g#m |
Soniquete |
1 |
Zyriab (1990) |
5:21 |
Improvised a melody over a chord progression |
Gitana te quiero min 3:36 |
2 |
Como el agua (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); D) Violin played along with guitar in a flamenco recording innovation by Paco de Lucia in Fandangos Calle Real (Calle Real, 1983, Track 5)
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