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 [3282]For Mr. Moersch and others, re: flamenco perc. (253 reads) |
2003-12-17 02:33:28 |
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Behzad
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Mr. Moersch (and others),
WARNING: This is a very long post! :)
I read your post about what I am "going to contribute to the future of the marimba". Now, I want to build a career mainly on performance, but I have some really good compositional ideas. I have written some stuff, but how would I go abouts getting it published?
Aside from percussion, I am also a professional flamenco guitarist. Though I perform and teach alot with flamenco, percussion will always be my life. I guess you could say I am a percussionist by day and flamenco guitarist by night! :)
Anyways, with flamenco, guitarists have to be their own composers, and write stuff that is inventive, but somewhat keeps the tradition, and most importantly stays within the RULES. Alot of the flamenco forms have a specific continuous rhythm and chording progression assocciated with it, which makes for really exciting music that is very rhythmically driving. But there are also pieces that are called "toque libre" which have no tempo, yet the phrases are very particular.
Alot of people like to play guitar pieces on the marimba, why not flamenco guitar pieces? Well, the problem is that flamenco music is never written down, because the gypsies and andalucians of Spain are not very musically literate. So I was thinking of someday writing alot of marimba (or even vibraphone) music based on flamenco.
I know that there have been some attempts by people who are not very familiar with the "rules" of flamenco, and in my opinion their work does not give flamenco justice. Not that I give it all the justice it deserves, but I think it would be cool to do.
It can be done for like Timpani too. Currently, I am writing a timpani solo called "Martinete". Martinete is a traditional form that is not accompanied by guitar, just singing, or flamenco "cante" as they call it. It is considered the blacksmith's song. The only instrument that accompany's it is an anvil, playing only on the beats in the rhythm of "1 + 2 + 3 + a 4 + a 5 +". So I have been writing a piece where one hand plays the anvil part on the bowl of the timpani, while the other hand plays the vocal line. The great thing is that the voice does some slides and some quarter-tone stuff, so its great for the timpani to emulate the voice by sliding up and down the pitches with the pedal.
So anyways, I think it would be a realy great idea. Do you have any thoughts on this, or any suggestions? Or should I just not waste my time? Thanks! And thanks for reading such a long post.
~Behzad
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[3282]For Mr. Moersch and others, re: flamenco perc. <Behzad>
