rdencabezado

 

Guitar players from generation after Paco de Lucía

 

Vicente  Amigo  (b. 1967)


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)

 

 

Niño de Pura  (b. 1966)


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)

 

 

Gerardo Nuñez  (b. 1961)


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)

 

Tomatito (b. 1958)


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)

 

 

 

Part 5 top Part 7

 

 

 

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