DANZA MORA SABICAS PDF

Guitar En trente-trois morceaux pour guitare. By Frederic Zigante. By Francisco Tarrega Edited by Frederic Zigante. Max Eschig. Composed

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His work had freed itself of the influence of Ram6n Montoya, and he was able to express himself without hindrance. His style became better defined. For guitarists, the most remarkable aspect lies in the absolute mastery of the fingerboard and the logical fingering.

By this time, Sabicas had turned the pursuit of ergonomy into a fine art. His fondness for diminished chords and their simple yet magic effect, when pursued up and down the fingerboard three frets at a time, is legendary, and he exploited them a great deal at the start of his career.

They are to be found in, for example, the tremolo in Ole mi Cadiz p. In other types of development he attained maximum effect with economical means, using a minimum of barres, and making wise use of open strings. See in this instance, for example, the finale of Aires de Puerto Real, p. Aires de Puerto Real can be further cited for the elegant way the passages follow on one another on p.

The ratio between the amount ofleft-hand work necessary and the "quantity" of music engendered is surprising. If such a metaphor were not verging on blasphemy, one might talk of value for money. As we have just seen, the soled Aires de Puerto Real is a brilliant illustration of the close links between musical imagination and intelligent fingering. This soled has a profusion of hitherto unheard falsetas that lead to an almost complete renewal of the composer's material in this palo.

Although it is quite unusual to omit variations in tremolo, the work is so homogeneous that the omission goes unnoticed. The Zapateado en Re was a favourite with both composer and audience. Sabicas was constantly in search of new ideas, and here he transposed a style traditionally played in C into the more open key of D.

One can only admire the splendid sequences of arpeggiated chords and the easy left-hand movements. One of the most thrilling themes is that of the campanas, with an impressive repeat in harmonics. Sabicas was an old hand at this technique, which we see in another masterpiece in D, the Guajira melodica.

These tinkling bells, reminiscent of a music box, remind us also of Papa gena's glockenspiel. Sabicas may well have seen a performance of The Magic Flute. What is fascinating is that originally he played this passage in artificial harmonics, using his thumb to pluck the note instead of the annular finger. Only later did he adopt the form transcribed here, with natural harmonics.

In three places I have added some fingering in brackets which seems to lie more easily under the fingers than that used by the composer, as identified in video films.

Like thefarruca and the danza mora, the malagueha was one ofSabicas's favourite styles. It seemed to provide a continuous source of inspiration for him, and indeed it was perhaps in the malagueha that his genius shone at its brightest.

Certainly he was without equal in these styles. La Trinidad is the most developed in this range, and amounts to a composite blend of his finest creative ideas, needing only the copfa and the tremolo passage from Brisas de fa Caleta to be complete. Ole mi Cadiz starts off in E minor before moving to E major. These are the keys for the alegrias de Cordoba and the Rosa, respectively, according to an earlier classification that has today fallen into disuse. Sabicas, however, wrote few alegrias in these keys, and took the more commonly used A major instead.

This point of interest apart, the piece is quite magnificent in its own right. The atmosphere induced by the use of E minor, the skilfully developed themes and Sabicas' own technical ease make this work a splendid gateway to further study of the contents of this album. Sentimiento gitano casts the siguiriya in a more modem light, and in places foreshadows today's style see p.

Despite his occasional deliberately spectacular display of brilliance, Sabicas never stooped to pyrotechnics for their own sake. An example can be seen in the falseta on p. The remate that follows almost comes as a relief, so that the listener, about to beg for mercy, is at last able to draw breath. While the piece is soundly constructed, it is the unstoppable flow of semiquavers that remains in the memory.

The flamenco guitar is, after all, so designed that moments of profundity alternate with fireworks, I ight with dark. Su discurso ha conseguido emanciparse de Ramon Montoya y su personalidad se expresa libremente.

El estilo se decanta, las ideas contimian siendo tan abundantes como de costumbre, surgen nuevas armonfas. Para los guitarristas, 10 mas notable reside en el dominio absoluto de la utilizacion del mastil y la racionalidad de la digitacion, En Sabicas, 1a biisqueda de la ergonomfa se ha convertido, en ese estadio, en una estetica, en un arte en S1.

Es conocida su predileccfon por los acordes disminuidos de soberbios y faciles efectos producidos al recorrer el mastil mediante desplazamientos de tres trastes. Sabicas 10 usaba ampliamente desde sus inicios, 10 encontramos, por ejemplo, en el tremolo de Ole mi Cadi: p.

Pero en otros tipos de desarrollos obtiene tambien un resultado muy eficaz con una extrema economfa de medias, sabiendo reducir al mfnimo el recurso de las cejillas y utilizar juiciosamente las cuerdas al aire. Ver por ejemplo el final de Aires de Puerto Real, par la e1egancia de encadenamientos p. La relacion entre la cantidad de trabajo desarrollado por la mana izquierda y la "cantidad" de musica producida es sorprendente. Si la metafora no fuese tan iconoclasta se podria hablar de una relacion calidad-precio insuperable.

La solea Aires de Puerto Real, como acabamos de observar, ilustra brillantemente la buena armonfa entre la inventiva musical y la inteligcncia de las digitaciones. Descubrimos una profusi6n de falsetas ineditas que renuevan casi total mente cl material del autor en estc palo. Se notara la ausencia de variacion en tremolo, bastante inhabitual, que a pesar de todo pasa desapercibida dado 10 apretado y coherente del conjunto.

El Zapateado en Re era una de las piezas favoritas del autor y su publico. Sabicas, creador incansable en busca de innovacion, ha transportado a la tonalidad abierta de Re un estilo tradicionalrnente tocado en Do. Las rnagnfficas sucesiones de acordes arpegiados fuerzan la admiraci6n por su aptitud para construir una linea logica y par la mecanica desahogada de la mana izquierda.

Es sin embargo e1 tema de las campanas el que nos maravilla mas, magnificado por su repetici6n con armonicos, Sabicas esta acostumbrado a ese metoda, recordemos otra obra maestra en Re, la Gualira melodica. Aquellas carnpanillas con ecos de caja de rmisica harian pensar casi en el glockenspiel de Papageno, "Oiria Sabicas la Flauta Magica? Es interesante resaltar que originalmente tocaba cste fragmento mediante armonicos artificiales, con una tecnica de mano derecha muy personal en la que el pulgar ejecuta la nota en lugar del anular.

Al final adoptaria la forma aqui transcrita, com armonicos naturales. En 10 concerniente la ejecucfon, he afiadido entre pareniesis, en tres lugares, una digitaci6n que -todo ocurre- parece ajustarse mas naturalmente a los dedos que la del propio autor, tal como se observa en algunos videos. La malaguefia, como la farruca y la danza mora, ocupa un lugar privilegiado en el repertorio de Sabicas, SC nutre de una fuente de inspiraci6n continua, razon par la cual, sin duda, su genio se expresa mejor.

Podrfarnos afirmar que nadic le ha igualado en dichos estilos. La Trinidad es la mas acaba de todas, practicamente una smtesis de sus ideas mas bellas. No le falta mas que la copla y el tremolo de Brisas de fa Caleta para estar camp lela. Ole mi Cadiz empieza en Mim y evoluciona en MiM. Son las tonalidades respectivas de las alegrfas de Cordoba y de la Rosa segun una clasificacion hoy abandonada.

Sabieas ha dejado pocas alegrias en dichas tonalidades por prefcrir el LaM. Ella representana de por sf un cierto interes por esta pieza si por otra parte no fuese sencillamente magnifica. La atmosfera del Mim, los ternas habilmente desarrollados y la facilidad tecnica invitaran allector a entrar en el estudio de la preseote selecci6n a traves de esta suntuosa puerta. Sentimiento gitano conlleva ya una vision muy moderna de la siguiriya y prefigura, en determinados momentos, el estilo actual vease p.

Conviene subrayar igualmente un enfoque voluntario espectacular y demostrativo al cual Sabicas no desdefiaba recurrir para subyugar a su publico. La falseta de p. EI remate llega casi como un alivio: cl oyente, a punto de pedir 1a gracia, puede por fin volver a respirar. La construccion es hermosa, sin embargo el efecto prima sobre la idea musical. Embrujo de Huelva resume la "manera" Sabicas.

Junto a los largos arpegios caracterfsticos del fandango encontramos faisetas antiguas p. Que decir, sino que nadie ha hecho sonar el instrumento como el, Fuerza y pcrcusion, pero con redondez e incluso con finura, hacen que se Ie reconozca entre todos y se Ie acepte todavia como un modele.

La guitarra de Sabicas es la mas perfecta identificaci6n del sonido flamenco. Ciertas soluciones tecnicas que no son mas que suyas requieren deterrninadas precisiones. Los rasgueados siguen la formula habitual can vuelta del Indice: t t o a m f ttl t!

Aun ast, he escrito todos los rasgueados sin tener en cuenta dicha particularidad, preferiendo ajustarme a los automatismos de los guitarristas de hoy en dia. La Trinidad de nuevo, en la conclusion del tremolo, p. La razon equivale aquf a ganar fuerza e intensidad. Con objeto de no hacer mas pes ada la leetura. El golpe puede hacerse can la vuelta del pulgar, golpeando la tabla bajo los agudos tSentimiento gitano, p.

Los apagados se efectiian can el dedo pequefio de la mana izquierda, presionando las cuerdas contra el mastil, Se reconocen en las semicorcheas, altemando can silencios de estas Aire de Puerto Real, p. Yet Sabicas is one of those few, The irresistible world of music created by Sabicas is both timeless and ageless. Every master of flamenco today recognises him as the unforgettable tocaor who inspired his own dreams. Yet the paths of glory trodden by Agustin Castellon Campos, Nifio Sabicas , are not without their own paradox.

For a start, he was not born in Andalusia but in far-off Navarre, and fame came to him even further away from Spain, in America. Destiny is not what we always expect. The young gypsy lad from Pamplona had barely tuned up his first guitar when it became obvious that he was a child prodigy. Since no one he knew was capable of giving him lessons, he had to teach himself with the aid of the few recordings that were available at the time. It was not long before he rose to fame and became the greatest virtuoso of his generation, a position he held unchallenged for many long years.

Sabicas took flamenco technique to hitherto unsealed, unimagined heights, leaving his contemporaries far behind in the matter of speed, timbre and purity of sound, not to mention his own numerous compositions. He had a phenomenal sense of compos and was unequalled in accompanying, especially playing for dancers.

Sabicas began his professional life by playing with the greatest artists of his time La Nifta de los Peines and Manuel Torres, among others , and in he joined the company ofCannen Amaya in Buenos Aires, one of the reigning artists of the day, with whom he made many successful tours.

He subsequently settled in Mexico for a number of years before finally moving to New York in He made some fifty records in which he played both solo guitar and accompaniment, but aficionados prefer to remember him as the first professional flamenco recitalist.

Sabicas' virtuosity and his impeccable sense of form have imposed high standards on all those who follow him in the art of flamenco toque, while his brilliant gifts as a composer have opened up new horizons.

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