Subjects
VOCABULARY
(Falsetas) We will foscus on the mangement of key resources of the flamenco guitar when play for a singer or a dancer or as a solist, studying the fundamental elements of Flamenco:
Falsetas, Silencios, Escobillas, Breaks / Remates , Llamadas
With all these elements will get what will be our language when working. The Flamenco has a high potential in the study improvisation so each of the parties listed above will be studied in isolation and then try combinations and permutations.Unlike other musical styles Flamenco Music is improvised music with complete structures, not just scales.
ACCOMPANIMENT
(Flamenco Singing and Dancing) Students will be able to play Flamenco most important “Palos” (styles). Student will develop the ability to play and listen to other musicians to simulate the real situation on stage.Beside the student must help manage and control elements of the flamenco singing and Flamenco dance through:
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Control of the melodíes
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Flamenco musical breaths
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Harmonic support for tunning the singer
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Rythm delay & Rythm breaks for the singing and dancing
Students work ar the same level concepts of rhythm, melody and improvisation all under the supervision of the teacher.
Each student should be able to structure the composition, memorize and improvise over it. In order to do so we first study the rhythm of the main flamenco “Palos” (styles) through the "Palmas" (clapping), being able to recognize and to play the main Flamenco “Compases” (rythms) from each "Palo Flamenco" as:
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Bulerias, Tangos, Solea, Seguiriya, Tientos, Guajira, etc.
Were attempted to cover as much Flamenco “Palos” as possible. Depending on the group level.
APPLIED HARMONY
This subject focus on the study and analsys of the main resources used in Flamenco music, tonalities and Modes (Major, Minor, Frigian, Diminished, Tonal, Sinthetic, Pentatónic, etc). We tackle in deep the main "Palos" (Styles) analisis "Falsetas" , voicings, Secundary Dominants, Substitute Dominants, etc.
The purpose of this course is that the students are able to understand the resources used by the great masters and also have the ability to create and compose their own music. Some of the areas to be covered are:
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Tensions
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Melody anlysis, reharmonization
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Modulation (Diatónic, Cromatic)
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Modal Exchange
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Traditional Harmonic Forms in Flamenco Music
A practical method to introduce into a Modal and Tonal music.
Harmony from a Flamenco Guitarist perspective. This section will focus on the study of the main scales used in the Flamenco (Major, Minor, Phrygia, Diminished, Tonal, Synthetic, pentatonic, etc).
Once this knowledge has been established with the strength required we will focus on studying the main flamenco “Palos” (styles) according to their different colors (Major, Minor, Phrygian or Dorian Flamenco)
The ultimate purpose of this course is that students are able to understand the resources used by the great masters and also have the ability to create and compose their own music. Will focuson the following areas:
• Harmonic Pogressions.
• Chord (Triads and Tetrads)
• Tonality
• Diatonic chords in major and minor tonality
• Tonal Funtion
• Harmonic rhythm and cadence
• Secondary and Substitute Dominant
• Harmonic Continuity
Besides reading classes will be introduced to develop a minimal rhythmic dexterity when we can address the content of the scores that we will appear in this course.
TECHNIQUE
The aim of this course is the complete mastery of the technique through exercises based on the internalization of hands sensations.Through the advice of teacher the student will achieve the maximum accuracy with minimum effort. The techniques discussed in this cycle are:
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Alzapúa (thumb)
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Picados(index and middle)
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Rasgueos (strumming)
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Tremolo
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Arpeggios
Flamenco Guitar Technique. The only way to free your expresion.The aim of this course is the complete mastery of the technique through exercises based on the internalization of hands sensations. Through the advice of teacher the student will achieve the maximum accuracy with minimum effort.In order to do so the teacher will take into account the student's own anatomy and the instrument itself.
To achieve these objectives we will focus on each of the techniques used in flamenco guitar in order to play works of the great masters, his own compositions or accompany the Flamenco singing or dancing. The techniques discussed in this cycle are: alzapúa (thumb), picados (index and middle), rasgueos (strumming), tremolo, arpeggios.
In addition we will study compositions or “Falsetas” of the Masters of Flamenco Guitar (Paco de Lucia, Tomatito, Vicente Amigo,etc) to introduce some tips and techniques.
COMPÁS
Ultimately in this subject has as objective the domain of each Flamenco rhythm, since 80% of Flamenco Music is based on the the domain of the rhythm structures:
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3/4 Compas
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4/4 Compas
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12 Beat Clave Amalagama Compas
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Rhythmic permutations
We will manage to master the Flamenco rythm through the study from different angles as:
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Minimun subdivision
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Binary
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Compas
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Clave
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Rythm combinations
Flamenco Rythm. The most important thing in Flamenco music.This area will start working with rhythmic structures and permutations in between. We will be able to identify each one of the most important parts of a "Sing" or the choreography of "Dance." That will provide the necessary tools in creating music.
All this is developed through compositions provided by the teacher or in some cases compositions made by the students themselves.
All this will apply on the main Palos (Styles) as:
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Bulerias
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Tangos
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Solea
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Seguiriya
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Tientos, etc