rdencabezado

 

Guitar players from the young generation

Jeronimo Maya  “Niño Jero” (b. 1977)


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)

 

Niño Josele  (b. 1974)


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.

 

 

Diego del Morao (b. 1979)


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)

 

Antonio Rey  (b. 1981)


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)

 

 

 

Part 6 top Part 8

 

 

 

© Ruben Diaz 2009 I Developed by ¡Viva España! Digital I Contact