rdencabezado

 

Guitar players from Paco de Lucia’s generation

Paco Cepero  (b. 1942)


Analysing: Bulerias
Guitar: Cypress
Performing position: Crossed leg. Same as Paco de Lucia.

Harmonic Analysis

Key

Chords used

 

 

fm (capo 3 por medio)

Im

 

 

 

bIII

 

IVm

 

V7b9

 

bVI7

 

bVII

 

Auxiliar 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

0:01

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)

 

Pepe Habichuela (b. 1944)


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).

 

Juan Martin (b. 1948)


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)

 

 

 

 

 

 

 

 

 

 

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.

 

Manolo Sanlucar (b. 1945)


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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