FLAMENCO MUSIC, my
passion, my roots and
my artistic passport.
Culminating
Experience Project

Sergio Martínez, Madrid, Spain.
Candidate to Masters degree in Contemporary Performance.
Class of 2014
Berklee College of Music


 

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CONTENTS
1. INTRODUCTION, Description of the project.

2. THE QUESTIONS, searching for targets

3. THE ANSWERS, solutions and conclusions

4. THE PROCESS,
4.1 The book and it’s process. Actual Status.
4.2 Creative exploration: The compositions, arrangements, exploration in
improvisation and recording sessions.
*Rhythmic concepts for arranging, composition, improvisation and performing.

5. REFERENCES.

6. APPENDIXES.


 

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1. DESCRIPTION OF THE PROJECT
 
This project is a unified work in which I have combined different approaches in
the search of answers and conclusions.

Research and investigation, documentation, edition, publication and a musical
creative exploration process.

It has been completed between September 2013 and July 2014.

The tittle is “Flamenco Music, my passion, my roots and my artistic passport” and
the common denominator in it is Flamenco Music and especially it’s Rhythms.

The main areas of the work are a large “Research Process” combining looking
for publications about Flamenco Music and an analytic reading of them.

“Creative exploration” that includes composition, arrangement and recording of
music pieces that have Flamenco Rhythms as an essential element.

Starting a long term project that consists in creating a learning source in the form
of three books, with the tittle “Fundamentals of Flamenco Rhythms and
Flamenco Percussion”


 

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The compilation presented in this project includes a revised draft of Book I.
By the time of the graduation the work hasn’t found a via of publication yet.

The writing of the book, has been the more extended part of the project as it
involved additional research about social and historical aspects that influenced
the origins and nature of the Flamenco forms presented in the compilation.

This book and eventually ebook, attempts to facilitate the reader a simplified
version of the Rhythms in Flamenco, considering having done a wide research of
other Flamenco Rhythms transcriptions publications available to the reader until
2014.

The collaboration and supervision of Professor Enric Alberich has been crucial
for the achievement of the goals and organization of schedules and tasks to
accomplish for the writing of the book so far.


 

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2. THE QUESTIONS

This is the starting point for this learning journey through researching, exploring
creatively and compiling materials to publish. The reasons why the decision of
developing a work into Flamenco Rhythm was the one that stayed firm beyond
other projects ideas for this year are multiple and will be presented later in this
essay.

To develop this part of the work, I see necessary to present Sergio and where he
comes from, so that the reader can have the necessary information about the
writer of this work and what his perspective is like, from where this project has
had place.

Sergio Martínez, Madrid, 1977.
Percussionist, Composer and Arranger.
Roots based in Flamenco Music developed his career accompanying some of
the most relevant Flamenco artists in the international scene, touring all the
continents, performing in some of the most important theatres and Festivals for
more than 15 years before enrolling at Berklee College of music, where he
studied undergraduate part of the Berklee Global Jazz Institute starting in 2010,
Graduating in 2013. Sergio attends Berklee College in Valencia part of the class
of 2014 as a candidate to Master in Music in Contemporary Performance.


 

5
 


 
Coming from Flamenco music, Sergio always found interest for other traditional
types of music such as Jazz, Afrocuban, Brazilian, African and Indian to name a
few. With Flamenco as the music who brought him all around the world, finding
interest about this Music in musicians and artists from other cultures was always
present, and it was also very common to offer clinics and master classes
organized as part of some of these tours Sergio was part of. Here started an
introspective search, constantly looking for tools as an educator trying to make
the lectures and lessons as simple and exciting as possible. The challenge of
teaching complex information about the Rhythms in Flamenco plants in Sergio
the seed of the constant research and the auto questioning process in order to
improve the ability of sharing his knowledge in an exciting and useful manner.

He was involved into numerous musical productions that had some sort of
interaction between Flamenco and other styles of traditional music. Sergio finds
himself in the middle of two different ambiences and languages, Flamenco and
the rest of the existing music. Unifying information has been a crucial part of his
development as a musician and this work is no other thing than an extended
effort in that direction. In this unifying process, one of the main conclusions has
been MUSIC IS ONE, and there is no need to feel in between two different
worlds, but there is the need to make our musical language as international and
global as possible, to understand others and be understood as much as possible
as well.
. *Artistic and teaching biography attached in appendix


 

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Some of the extended list of questions that gave shape to this project are:

What is Sergio’s artistic identity?

Why Flamenco Music?

Why Jazz?

Why is Flamenco interesting to other musicians and people from different
cultures and backgrounds?

Why is it that complex for most of the people to get an easy understanding of
Flamenco Music?

How can this be addressed in a positive way?

Why is it important to bring Flamenco into the music schools? Is this risky at all
for the preservation of this art?

How can Flamenco and its Rhythms be used as an instructional tool?


 

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What is the creative process like? Recordings, compositions and arrangements
part of the exploration “ Flamenco and other music styles interaction
possibilities”.

What are the ways that this research and compilation can be divulgated?


 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 


 

 

 

 

 

 

 


 

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3. THE ANSWERS

Flamenco because it is pure rhythm.

Everything in Flamenco, including the forms with no tempo or rhythm
accompaniment, is immersed in Rhythm. The melodies and the accompaniment
from the voice and the guitar really captured Sergio’s attention defining his
musical identity because of growing up in this music and developing the majority
of his career into this style.

The lyric material and the popular and folkloric character of this music, definitely
caught all the interest in his musical initial research at the beginning of his
exploration as an amateur musician around 17 years ago. Since then, the
Flamenco rhythms and the Cajón as the instrument, have accompanied Sergio’s
accomplishments as a performer, composer and arranger. These elements are
some of the roots of Sergio’s identity.

Jazz is the other main field Sergio feels like belonging to. Due to the power of
improvisation, the spirit of Jazz as a traditional music, like Flamenco, the
connections with Africa and the History of Slavery and the Afro-American culture,
plus the openness and wide spectrum of other musical styles that Jazz
embraces, make this music the main parallel focus of interest in Sergio’s artistry.


 

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Among his career he has found an endless interest for Flamenco music and
rhythms from musicians in other musical traditions. Jazz is one of the fields,
where the seed of Flamenco music finds a more fertile soil. The need of
knowledge to increase Jazz musicians vocabulary, plus the expressivity and
richness of Flamenco music, made Flamenco a target point in the learning
process of many Jazz musicians. Probably a new window to explore composition
and arrangement possibilities like it could have been Afro-Cuban Music in the
New York of the 50’s and 60’s. New solid and rich music material to be absorbed
by jazz musicians and musicians from all kind of styles all over the world.

However, Flamenco is a music and culture of a minority. The Gipsy community in
Spain and the Flamenco artists and followers community in Spain and recently
expanded to numerous countries all over the world.
This makes it a very unique and particular form of art with tons of peculiarities,
really hard to appreciate without living the whole experience of visiting the places
and meeting the people where Flamenco comes from.
The challenges to the new interested musicians in Flamenco music are many,
and not easy to solve. Definitely, having an understanding of this music in its
context is one of the hardest accomplishments to get by those who get into the
path of learning Flamenco music without the experience of visiting Spain,
Andalucía, and live and experience Flamenco in first person.
Other very relevant aspect of the cognitive process is the understanding of the
aesthetics and particularities of Flamenco melodic and harmonic aspects. But


 

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what embraces all, melody, harmonic rhythm and instrumental textures is the
RHYTHM. It is not possible to have a complete understanding of this music
without understanding clearly its rhythms and claves.

In regards to this, many publications about Flamenco Music are presented in my
opinion, in a very complex way, making the first step of understanding the
rhythms in Flamenco a challenge hardly overcome in many occasions.
Generating confusion in the reader and probably in many cases for the student to
give up trying to understand, waiting for the chance of having some personal
instruction over this topic to catch up while checking out other stuff. This is in fact
very usual.

The analysis of Sergio’s previous experience, the recent research into previous
publications and the writing of “Fundamentals of Flamenco Rhythms’ are different
ways to approach the same question and problem: How to share this information
about Flamenco Rhythms and percussion in a simplified, interesting and creative
way.

This project has the finality to serve as help for anyone, particularly musicians,
who want to take the challenge of understanding and learning Flamenco
Rhythms.
As a creative tool, the information in the book tried to always be presented from
an arranger and composer point of view as well as from a performer and


 

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percussionist one. The goal is to reach a targeted audience as wide in
precedence and musical background as possible. Trying to help and contribute
positively in this way with all the potential readers and followers and their creative
processes.

Flamenco is hardly present in international music schools, and its learning is
limited nowadays to those who visit Spain and take lessons and experience the
culture here for a while. This project also wants to collaborate to expand this art
and make it available for as much people as possible. Acknowledging the fact
that it is better to know essential aspects of Flamenco, like the rhythms and it’s
claves, than considering this music an impossible challenge to overcome without
visiting Spain.

This project tries to help those who want to start by the fundamentals and who
already have a minimum of musical education, able to read music, but not for this
reason, it is presented in a complex way, since it is the goal of the project to
reach beginners, medium level and high professional musicians with the same
success.
Also The material compiled has the potential of serving for other instructional
purposes like teaching “rhythm”, arranging and composition tools for arrangers,
composers, song writers and film scorers. Attempting to be material used in a
creative way.
http://www.sergiomartinez.pro/


 

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4 THE PROCESS.

4.1 THE BOOK “ Fundamentals of Flamenco rhythms and
Percussion, Book 1”

Choosing a project

*Attaching Culminating experience project first proposal and revised proposal in Appendix

“An event that changed the direction and form of the project “

Although the main topic of the project was clear from the beginning of the
brainstorming, the form of the project changed due to different production and
logistic events that determined the final nature of the work.

Initially, these Rhythms were going to be compiled and presented in a web site
where subscribers would have had access to the information in the shape of
learning pills or video lessons online, organized and offered among within a
period of time. This was the idea for the two first semesters of the year and the

 

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material was being thought and organized to be video filmed and stored and
offered through this website with the collaboration of the Mediterranean Music
Institute providing the video production logistics. The PDF parts would be a
supporting material to the video, but the idea was to share the information in a
very graphical way, targeted for those students who were looking for a face to
face kind of learning method, with or without the need of music transcriptions.

Eventually the support form IMM happened to be cancelled during the end of the
second semester. This was a crucial part of the development of the project as no
funds for video filming and editing were available anymore, or any signal of
support for the creation of a website for which development a domain had
already been purchased. www.cajonflamencoschool.com.

This event changed the form and direction of the project, being the main focus
the PDF publication of the materials, trying to get as much of this information
video filmed and edited with the help of volunteer collaborators students at the
school.
The video would be then additional support information to complement the
transcriptions for those who wanted to have a more complete access to the
rhythms. Therefore, the book would be the main focus since that moment and
counting with no more support from Histeria®, that had been designed previously
as the video filming company to provide 15 h of video capturing with their
equipment and team.


 

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After an extended research looking for as much publications about Flamenco
music as possible and large amounts of reading during the first semester and the
beginning of the second one, it started the time for transcribing and creating the
material that this learning source would be consisting of. Shaping the book
responding to some of the questions previously presented and others like “who is
the book directed to”; “what are the goals of writing it” What topics would it cover
mainly and what amount of historical and social information should it include
complementing the musical information.

*Attaching tasks schedule in the writing of the book and Journal of the project.in the appendix

“Fundamentals of Flamenco Rhythms and Flamenco Percussion” is a long term
project that consists of three books.
The first one presented in this essay is a draft, under the tittle of “Book I”, still
open to corrections and additions and modifications and attempts to teach and
the rhythms of Flamenco music based on a clave and the development of a full
rhythm section consisting of three claps and Cajón, presented as polyrhythmic
counterpointed voices that work as the actual rhythm section in Flamenco Music
currently.


 

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The first section of the book presents the rhythms, while the second focus its
attention in introducing the cajón as the main percussion instrument other than
the clapping. Some cajón patterns for the rhythms previously presented are
introduced and some additional percussion also is offered in this section of the
book.
The last section is an example of what book II and III will start developing
eventually: examples for combined percussion set and examples for
contemporary rhythm section arrangement based on Flamenco Rhythms and
examples of some musical arrangements and compositions using these
Rhythms.


 

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FUNDAMENTALS OF
FLAMENCO RHYTHMS

Book I

By Sergio Martínez


 

 

 

 

 

 

 

 

 

 

 

PREFACE

 

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The information in this book is shared with the reader with the
intention of facilitating some guides to the new Flamenco music
listener for a better understanding of this particular art.
The purpose of this compilation is to help those who are interested
in discovering Flamenco, through the analysis and practice of the
rhythmic patterns and claves presented in this book. However, as in
any other music style with a very specific language, a big part of the
success in the learning process will depend on the effort, time and
attention that the student puts into it.
The examples intend to provide the student control of these
materials based in a creative process divided into three steps;
imitation, assimilation and innovation. The last one, suggests the
reader to use this content within a creative process whether it is
through composition, arranging, improvising or performing.
The book has also the intention to strengthen the sense of rhythm
of the student by practicing and listening the exercises while
enjoying this fascinating music and form of art.
The materials shared in this work are a personal transcription and
interpretation of what I have considered to be the most common
expressions of these rhythms. I personally have found them to be
the essence and fundamentals of contemporary Flamenco Rhythm.
I have learned all of the examples presented here through imitation,
assimilation and innovation, throughout the development of my
career as a flamenco percussionist.

INTRODUCTION


 

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The origins of Flamenco music are complex, there are many social,
geographical, historical and cultural aspects and events that took
part in the equation that has as its result a wonderful form of art, so
rich in originality expressivity, extension and variety.
With at least two centuries of documented written proofs of
existence, this folkloric expression has previous elements that are
essential in the development of its identity and its existence itself.
In Andalucía, southern region of Spain, Flamenco is born from
different roots. The convergence of all of them throughout the pass
of the centuries makes possible for Flamenco to be what it is
nowadays.
The arrival to Spain of the Gypsy population in the XV century,
after a long nomad journey coming from India, incorporating
folkloric and artistic elements found at the countries where they
would be settled down temporarily during this journey.
The Arab musical heritage after eight centuries of living in Spain,
the Jewish Sephardic traditions also present in the country and the
incorporation of the Byzantine chants by the Catholic church are
vital historical events and essential ingredients in the creation and
evolution of what is called Flamenco.
As a matter of fact, many are the theories that have tried to justify
the name that its been given. Because of a lack of historical
documentation previous to when Flamenco was already an obvious
evidence, the XXVIII century, there is not an agreement in many
aspects related to the origins of the name or the art itself, which
makes it even more mysterious and attractive.
A popular and folkloric expression, very closely related to the gypsy
people in Spain finds Andalucía the place where this melting pot
finds its origins, and it is also where Flamenco is more popular in
the present as well.


 

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One of the most accepted theories defends “El Cante”, the voice, to
be the first discipline appeared in Triana Jerez and Cádiz,
(Andalucía), being the Tonás and Arboreás the most popular forms.
However, there are some literary references that describe the
existence of dancers that would dance music played by voice, guitar
and percussions in the XVII century. (Miguel de Cervantes in “La
GItanilla”and Bachiller Revoltoso in 1740.
The lack of written studies in historical documentation about the
origins and development of this art previous to the XVIII century,
make impossible to find information not exempt of doubt and
criticism and keep the mystery that surrounds this wonderful art
that is even recognized by Unesco with the entitlement of Heritage
of the Humanity.
Flamenco music is admired worldly and serves of inspiration to
many other musical styles.
The voice, the guitar and the dance are the main disciplines and
they all have the rhythm as the common denominator that gives
Flamenco its peculiar identity.
Flamenco has attracted composers and performers from all over the
world and because of its melodic and rhythmic singularities it is
often difficult to comprehend. The lack of extended work of
documentation about the aesthetical aspects of this music makes it
hard for the new Flamenco student and listener to find the clues
that reveal the mystery of its nature and sometimes too hard to
understand following some methods whose analysis are extremely
complex, almost with a scientific character, getting the reader a little
bit overwhelmed. I am trying to preserve the excitement and
curiosity by presenting it as easy as possible, giving some short
notes about the origins of the forms presented and trying to give an
approach to the more complex rhythms that doesn’t interfere
between the cognitive process of learning and the natural joy from
listening and appreciating music.
The Rhythms are an essential part of Flamenco’s richness and
without a clear comprehension and control over them, it would be
very hard, even impossible, to appreciate this Art. This compilation
of rhythms intent to contribute to the materials available for a better

 

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understanding and appreciation of Flamenco, a wonderful music, a
way of living and a true popular expression that finds itself adapting
to the new times these days in a delicate process of adaptation from
the oral transmission to new expansion ways through its inclusion
in music schools.
.

El Jaleo by John Singer Sargent, 1882.

ABOUT THE BOOK
This book is part of a series of publications that has Flamenco as
the main topic, in which different aspects of this form of art will be
developed. This edition is focused in the rhythm and percussions in
the style, and how these tools can be used for other purposes, such
as a didactic methodology to teach and improve rhythm,
arrangement concepts and composition. Extending into a second

 

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section in the publication where the Cajón and other percussion
instruments and patterns are the main focus.
The rhythms presented are classified by time signature and there is
not a reason behind the order they are exposed. For every rhythm
there is a main clave that is also valid for other forms. The forms
chosen as the main representation for each clave are, in my opinion,
the most used in contemporary Flamenco. They are not more
important, but just more used in some cases. The examples
presented as “Full Rhythm section” are polyphonic, conceived as a
contemporary common rhythm section consisting of three claps and
one Cajón. These examples are transcriptions that I have made
extracted from contemporary Flamenco performing situations in my
experience as a Flamenco percussionist among the years.

INDEX
SECTION I: FLAMENCO CLAVES AND RHYTHMS

INTRODUCTION
The notation of the rhythms; “Simplifying”.
I Forms in 3/4; Fandangos de Huelva and Sevillanas.

 

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II Forms in 4/4; Tientos and Tangos and Rumbas.
III Forms in 6/8; Tanguillos de Cádiz
IV Forms in 6/4; Seguiriyas, Soleá, Bulerías y Abandolaos

SECTION II FLAMENCO CAJON AND PERCUSSION

I INTRODUCTION Famenco Cajón, a short history.
II Complementary patterns to the rhythms in Section I for Cajón,
Djembe, Frame drums and Udu drums.

SECTION III
Ideas for arranging and composition based in the Flamenco
Rhythms; Introducing Book II.
I Examples for Contemporary western rhythm section based in
Flamenco polyrhythms.
Examples for combined percussion set; Introducing book III

SECTION IV


 

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I References
II About the author.

CHAPTER I
Notation for Flamenco Cajón
Bass Sound
Slap Sound
Ghost notes (finger movements)


 

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3/4
With the intention of contributing to the published written materials available
to the reader, I have tried to simplify as much as possible the notation of the
rhythms presented. I have found lots of confusion from beginners, amateur
musicians and top professionals that felt at some point that there is a mystery
surrounding the learning of Flamenco music, from finding the beginning of a
cycle or to understanding the placement of harmonic rhythm in this particular
music style. Other publications might have considered different ways to analyze
and present the same rhythms in a different time signature and notation. I
would like to clarify that this transcription work is the result of my personal
conclusions so far about how western music students would be more capable to
find these rhythms accessible and easy for their own benefit.

I FANDANGOS DE HUELVA
Fandango is a traditional form of spanish Folklore, in Andalucia, a southern
region of Spain this particular expression became strongly influenced by the
flamenco aesthetics. In Huelva, particularly, this form was developed up to
thirty two specific variations considered styles of Fandangos de Huelva. The
development of these variations depends on geographical and different
personal interpretations. The themes presented are diverse, going from love,
life in the countryside, religion and the specific Saint related to the place where
the style was created and celebrations around it, the geographical surrounding
and local references to important singers in the style in Huelva.

FANDANGOS DE HUELVA BASIC CLAVE

>
÷ 43 Û Û Û
q = 140

>
Û Û Œ

>
Û Û Û

>
Û Û Œ

>
Û Û Û

>
Û Û Œ

>
Û Û Û

>
Û Û Œ

*A cycle of Fandangos de Huelva has an inner structure of 4 measures in ¾.


 

25
 


 

The full Flamenco percussion rhythm section:
A rhyhtm section in a standard contemporary Flamenco band is usually consist
of at least two clappers. Most of the times the singers are also doing the
function of clappers while singing. However, there are other elements that
provide rhythmic counterpoint and support the rhythm section like the
guitar,the footwork and other complements for the dance like castanets or
crotals and/or other possible instruments like the bass or the piano when
mixing Flamenco with other music styles, exploring off the boundaries of
traditional Flamenco. The cajón, and other possible percussion instruments are
an esencial part of the rhytmhic section. The examples presented in this book
are based in contemporary Flamenco common situations intending to show
how the rhythm is performed and divided whitin the different voices. The
rhythm section is developed in this work for three claps and one cajón,
potentially complemented with other voices played by other percussion
instruments in a rhythmic counterpoint presented in chapter two. The next
example shows how in the style of Fandangos de Huelva the three claps and the
cajón provide a rich rhythm which unity of measure is a cycle of four measures
in three four time signature.

>
34 œ
÷
>

>
>
>
œ >Œ > œ
œ > œ> œ
œ >Œ
œ œ œ œ œŒ œ œ œ œ œ Œ œ œ œ œ œŒ œ œ œ œ œŒ
>
>
>
>
3
÷4 œ
œ
œ
œ
œ œ
œ
œ
œ
œ
œ Œ
>
> >
> >>j
>
> > > >
> >
3
œ ÷ 4œ œ œ œ œ œ œœ œœ œ œœ œ œ œ œœ œœ œœ œ œœ œœ œ ‰ œœ œ œ œœ œœ œŒŒ

q = 140

œ>

q = 140

Clap 1

÷ 43

Clap 1

Clap 2

÷3

4
Clap 3

Clap 2

>
3
>÷ 4 œ 1 1 x > 1 1 x>

œ

>
>
œ >x x 1 > Œ > œ 1 1 x 1> 1 x >
j

>
œ x>x œ >Œ

j
LL R
R LL
R œŒ
œ Rœ œœ
œ œœ R‰œL Lœ œR œ Œ œ œœ
œ œR œLLœœR œ œœR ‰œLLœœ
4 œ œœRœ LL

Hands:
÷3

Cajón
Clap 3

Cajón

œ>

>

>

>

>

>

>

>

>

Example
of contemporary
(Percussion:
÷ 43 œ 11x11x
œ xx1Œ œFandangos
11x11x œ x xdeœ ŒHuelva
œ 11x11x
œ xx1Œ œSergio
11x11x Martínez)
œxxœ Œ
https://play.spotify.com/track/6S8MCXqidPaACUbKDICgdd
Documentary about Fandangos de Huelva:
https://www.youtube.com/watch?v=JzRNSe7vJKM

 

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Fandango is a huge genre itself, it became popular during the XVIII century in
Andalucía, as a singed dance probably brought from those who traveled back
from the Americas and probably in Cádiz, also known in those times as the
“gate of the Americas”. This style was probably included in a theatrical and
lyric context in those years. However, there are different types, other
fandangos than the ones from Huelva have a slightly different rhythm like the
Malagueña, which rhythm is called “abandolao”, presented later on in this
sectio. Malagueña aswell as other “Cantes de Levante”, a family of forms
provinient from the southeast of Spain in the Mediterranean area, are cosidered
aswell as a type of Fandango, being under the harmonic spectrum of this
family of forms or “Palos” Fandango Andaluz is therefore a root from where
other variations grew, regional Fandangos, directly related to specific towns,
creating variations with the name of the place they come from. Personal
variations, born from the personal aesthetical contributions that different
singers made based on other already made and stablished as a new variation
repeated by other singers as an important reference. The fandago natural, has
an inner rubatto rhythm, being very rich in lyrics and an important expression
of the popular voice in Andalucía.
We focused our attention into the Fandango de Huelva because because of its
rhythmic atractive and for its popularity in the contemporary Flamenco scene
nowadays.
q = 140

Knuckles on table
One hand

>
3
÷4 œ œœœ œœœ

>
>
÷œ œœœ œœœ

5


 

>
œ œœœ

>
œ œœœ

Œ

Œ

>
œ œœœ œœœ
>
œ œœœ œœœ

>
œ œœœ
>
>
œ œœœ

Œ
Œ

27
 


 

Paco Toronjo, one of the most influential Fandango singer from Huelva.

https://play.spotify.com/track/1nSC7CUSgtSDYqjpmXuhto
*Palo: name given in Flamenco music to each musical form that the style
consists of. The classification of this forms is very complex due to the huge
extension of the main forms, families and variations that the palos are grouped
in.

4/4
I Tangos
Tangos are an original palo from Andalucía, Spain. However, different theories
defend different procedences.The latest ones reveal that Tangos have strong
Afrocuban origins and that Cádiz was be the place where Tangos were
originally from. Cádiz was a very important port at the end of the XIX century
and many people traveled between the Americas and Spain, the flow of cultural
identities and artistic manifestations was very intense and the influences are
clearly appreciable between some cuban rhythms and tangos flamenco, being
this last one less complex in its polyrhytmic aspect. There are also different
oppinions wether if they have or not any relation with the Argentinian tango.
From this perspective the only relation that I observe is that they both are in
the same time signature, other than that, in my opinion they are two totally
different types of art form.


 

28
 


 

Cádiz Bay

Seville Port

Cities like Cádiz , Sevilla and particularly a neighborhood called Triana and
Granada are the areas where this form is more developed. Also Extremadura
had a more actual identity in this style due to the peculiarities adquired from
the portuguese influences. There are other styles of tangos, like the ones from
Malaga that are also relevant, although they are a variation from the ones from
Granada.
TANGOS FLAMENCOS BASIC CLAVE

÷4
4 Œ

>Û

Û

>
Û

Œ

Û> Û

>
Û

Œ

Û>

Û

>
Û

>Û

Œ

Û

Œ

*A cycle of Tangos has an inner structure of 4 measures in 4/4. That is called in
Flamenco one compass of Tangos, but it is actually a four measures phrase.

The Full rhythm section presented below is a basic rhythmic structure for three
claps and Cajón. A good way to use these rhythms as rhythms exercises is to
divide the group/class in four groups and divide the rolls for each voice. Also
using a multi-track recording device would allow practicing accuracy of
performance through the rhythms as a tool to improve the rhythmic sense.
TANGOS FULL RHYTHM SECTION:

Clap 1

Clap
 2

>
4
ã4 œ œ

>
œ œ Œ

>
>
œ œ œ

>
Œ œ

œ œ

>

Œ

>

œ œ Œ

>
>
>
>
>
j
j >
j
j >
4
ã4 Œ ‰œ œ œ ‰œ œ œ œ Œ ‰œ œ œ ‰œ œ œ œ
>

>

>

>

29
 


 

*Juerga Flamenca: Is a reunion of flamenco performers and listeners which main goals are
social, creative and art appreciation of this Art. It is cmmon the use of alcohol and other
subsatnces to enhance the perception and bravery of the performers. Singers, guitar players,
clappers and dancers.

Example of traditional tangos de Cádiz ( Pericón de Cádiz ).
http://open.spotify.com/track/2VsoxC6FWOU30Fx8Nt9c67
Example of contemporary Tangos by Ezequiel Benitez, (Percussion Sergio
Martínez).
http://open.spotify.com/track/3CdHi3Lc6AXhinEVxLPLSI

Tangos have a festive character
and its social function is
celebration.
Very commonly played in what is
called in the Flamenco language
*Juergas, or reunions.
Tangos are associated from its
origins to a type of dance,
sensual and with oriental and
arab influences too.
It is very interesting to
appreciate the in small amounts
of geographical margins the
forms in Flamenco keep very strong stylistic differences.
There are some variations of tangos, based on geographical reasons that gave
every manifestation a singular style. These are basicaly Tangos from Cádiz,
Tangos from Triana, Tangos from Extremadura,Tangos from Granada and

 

30
 


 
Tangos from Málaga as a variation of the ones from Granada. The differences
are melodic and harmonic but they all share the same rhtyhm exposed
previously with sutil variations in the feel of the eight notes.

The next examples are representative of each mentioned variation.
Tangos de Triana by Miguel Poveda and Tangos from Granada by Marina
Heredia
https://www.youtube.com/watch?v=gjAiETDonz4
Tangos de Cádiz by La Perla de Cádiz
https://www.youtube.com/watch?v=itpL7iSPMHI
Tangos de Malaga, (Tangos del Piyayo) by Camarón de la Isla
https://www.youtube.com/watch?v=bBNQ_lXVp7w
Tangos Extremeños, by Camarón de la Isla
https://www.youtube.com/watch?v=H335n8IT4ZU
Other forms are derivated from the Tangos and Tientos, and share the same
type of rhythm. The Mariana, this form is not that popular now a days but it
was during the beginning of the XX century, enough to inspire very relevant
classical composers like the spanish Joaquín Turina who used part of the
traditional melody of the “Mariana” in his piece Jueves Santo a Media Noche”
The Mariana keeps the same rhythm and feel than the Tangos but it has an
influence from the Hungarian Gypsies that lived nomad along the geography of
Andalucía.
Mariana interpreted by Pastora Galván,
https://www.youtube.com/watch?v=k2SBUcrJgeQ


 

31
 


 

Hungarian Gypsies in Spain, beginning of the XX century.

With a very festive character, the Rumba Flamenca, with strong latin american
influences, works rhtyhmically under the same parameters than the Tangos but
with a faster tempo. Because of its origins, other percussion instruments are
commonly played like bongos, congas or other afro-latin percussion
instruments. Now a days, often the flamenco rumba finds her cuban twin sister
in the other side of the Atlantic Ocean , the Cuban Rumba, and it is very
common in contemporary Flamenco to find arrangements that consist of a
whole afrocuban rhythm section with clave, cascara, tumbadora, conga and
quinto, plus the spanish elements like palmas and cajón, guitar and Flamenco
Voice. This aspects of the development of the Flamenco Rumba will be covered
more extensively in the section II of the book.
Colombianas is another palo or form that share same rhthmic patterns and has
also strong latin-american influences including some more percussion
instruments. It is faster than Tangos, and slightly slower than the Rumba,
colombianas became very popular from the 30’s till our days and find
influences from other “Ida y vuelta”,“round trip” forms that traveled to the
America’s and came back modified like Milongas and Guajiras.


 

32
 


 

Cuban Rumba

Some examples of the forms presented:
Rumbas Fllamencas by Camarón de la Isla and Tomatito
https://www.youtube.com/watch?v=9uOnwqNLOwY
Colombianas by Antonio Molina, Pepe Marchena and Juanito Valderrama
https://www.youtube.com/watch?v=lsDAQFlqCao
Milongas by Pepe Marchena
https://www.youtube.com/watch?v=IQiWhq2GrUI

II Tientos, Garrotín y Farrucas
As the result of exploring different ways to interpretate the Tangos, some
singers started exploring new possibilities by slowing down the tempo
obtaining more space and chances to embelish these melodies including
melismas borrowed from other forms with a deeper tone and character like
soleás, fandangos or Malagueñas among others. As a consequence, this form
became more a variation of the tangos, that started being more appreciated as a
form to listen to, without the presence of the dance element. However the
Tientos are interpreted commonly by dancers who will put movement to the
sounds of the voice and the guitar, supportted by the rhythm of the claps and
percussions, including a coda or ending in a faster speed incorporating the
Tangos Form as a resolution or and ending much more energetic and fast.

BASIC CLAVE FOR TIENTOS

q = 80

÷4
4 œ


 

>

œ

œ

>
œ

>
œ œ

œ

œ

>
œ œ

œ

>
œ

>
œ Œ

Œ

Œ
33
 


 

There are important differences in the interpretaion of any Flamenco piece
depending on if it is done in a more traditional way, keeping the elasticity of
the tempo, leaded by the melody interpreted by the singer and accompanied by
the guitar, or if in other hand, if the approach is more contemporary, where the
tendency is to keep a much more steady tempo, even using metronomes in
recording situations. The develompement of the technique of all the main
elements of the Flamenco performance, and particularly the dance and the
coreographyial concepts, has made that in the past decades the rhythm has
evolved into something more precise and accurate than in the past but,
sometimes sacrificing this special aspect of the elastic tempo that Flamenco has
keept as a very valuable esential charasteristic.
TIENTOS FULL RHYTHM SECTION

q = 80

>
œ œ

Clap 1

÷ 44 Œ

œ

Clap 2

÷ 44 Œ

œœœ

Clap 3

Cajón

Hands:

>
4
÷4 œ œ

œ

Œ

>
œ Œ

œ

œ

>

Œ

>
œœœ Œ

œœ œœœ

>
œ Œ

>
œ

>
Œ œ œ Œ
Œ œœœ Œ

Œ

œ

Œ

œœœ

œ

œ

œ

œ

œ

œ

>
>

>

>

œ œœœ Œ

>>
>>
>
>
>
>
÷ 44 1 1 x œ 1 1 œ x 1 x x œ œ 1 1 1 1 1 x œ 1 1 œ x 1 x x œ œ 1 1 1
R L R L R L R L R L R L R L R L R L R L RL R L

R LR L R LRL

Other forms share the same rhythm with different types of melodies and
harmonies, that is the case of the Garrotín, that finds its origins in other
northern regions of Spain and throught the adaptation into a very singular and
exceptional interpretations by La Niña de los Peines and Manuel Torres. The
dancer Faico made it popular aswell by coreographying it under the inspiraion
of Ramón Montoya’s guitar. The Garrotín found its golden moment in the first
part of the XX century but it remained popular until our days. It has the same

 

34
 


 
character as the Tangos Flamencos and it is probably more oriented to the
dance than to the voice as it’s main interpretative source. That is also the case
of the Farrucas, another form with northern origins, concretely Galicia. The
Farruca keeps the same clave although it’s feel is a little less flexible and more
stacatto in terms of articulation. Faico also was a pioneer in the interpretation
of this palo and made it popular through his choreographies.
Another form that belongs to the family of the tangos is the Zambra, oiriginal
from Granada and performed in the caves with important success , typically
danced by a mixed couple and have some percussion instruments or
complements for the dance like crotals or “chin-chines”.
Form different procedence the Tarantos, being slower, also belong to this
group of forms that has this rhythm in 4/4 in common.
Some examples of the forms presented in this section
Tientos by Enrique Morente
https://www.youtube.com/watch?v=oBXVTWyqcYI
Tientos by José Anillo ( percussions by Sergio Martínez )
https://play.spotify.com/track/3ryQzjbICBabsJNvMFGdhd
Garrotín by Mayte Martín
https://www.youtube.com/watch?v=LknLr885MJc
Dance Garrotin by Rocio Molina
https://www.youtube.com/watch?v=DZ9HpvUfl08
Farrucas by Manolete
https://www.youtube.com/watch?v=hAWz5H6E5x8
Zambra by Carmen Amaya
https://www.youtube.com/watch?v=Zn4Abfwfsps
Tanrantos by Camarón de la Isla and Tomatito
https://www.youtube.com/watch?v=4E_k4x34cOg


 

35
 


 

Granada in the 50’s

6/8
Tanguillos de Cádiz
The character of this form is originally festive. It is very used at the Carnivals in
Cádiz, by the “Chirigotas”, vocal groups that every year, during Carnival use
tanguillos and other forms to present their social chritics in form of songs.
It is also used as another style for composition in contemporary Flamenco. In
this case, very often the feel has suffered a sutil adaptation from the original
one, becoming more ternary and tripletized, being very common the use of
rhythms and percussions from other traditions like african or cuban. Again, the
geographical and historical aspects are essential, and the mix of cultures,gets a
clear representation in contemporary Tanguillos compositions.
Two of the more representative singers in this style were Pericón de Cádiz and
Chano Lobato. Since the guitar became more important as a solist instrument
the use of the Tanguillos has also changed, becoming popular as a part of the
repertoire of the solo guitar compositions. That is the case of Tanguillos, that
because of it’s particular energetic rhythm offers to the writer a very useful and
open compositional tool.
Musical Examples:
Chano Lobato Tanguillos de Cádiz
Paco de Luciá Sextet. "Peroche", Tanguillos


 

36
 


 

Chirigota Member in the Cadiz Carnivals

Chano Lobato

TANGUILLOS DE CADIZ BASIC CLAVE

÷ 68 Û

Û

Û

Û
J

>
Û

‰

Û

Û

Û
J

>Û

The feel of this rhythm was originally derivated from the Tangos, with a very
strong binary feel. The influences from the North African rhythms, due to the
nearness to Cádiz, and also the influences from the afrocuban folkloric
procedence made, naturally this process of adaptation in the feel. Interpreted
more ternary in contemporary Flamenco and with a binary feel, almost
identical to the Tangos rhythm one in the past or more traditional performed
Flamenco currently interpreted.

TANGUILLOS FULL RHYTHM SECTION

Clap 1

Clap 2

Clap 3

Cajón
Hands :


 

>
>
>
>
>
>
6 œ ‰ œ ‰ œj ‰ œ ‰ œ ‰ œj ‰ œ ‰ œ ‰ œj ‰ œ ‰ œ ‰ œj ‰
ã8
>
>
>
>
>
>
6 ‰ œ œ ‰ œj ‰ œ œ ‰ œ œ ‰ ‰ œ œ ‰ œj ‰ œ œ ‰ œ œ ‰
ã8
>
6 œ
ã8

>
>
>
j
‰ œ ‰ ‰ ‰ œ œ ‰ œ œ œ

>
>
j
‰ œ ‰ ‰ ‰ œ œ ‰ œ œ

>
>
>
> >
6 œ x 1 1 x 1 x x œ x œ 1 œ x 1 1 x 1 x x œ x œ 1
ã8
R L R L R L

R L

R L R L

R L R L R L

R L R L R L

37
 


 

6/4
Seguiriya
This form is definitely one of the oldest known in Flamenco music, there is
documentation about its existence from the XVIII century, although these
primitive Seguiriyas were different to the ones we can find today. In fact
Seguiriyas, are a derivation of an ancient Flamenco vocal expression ,
interpreted without guitar by the Andalucian Gypsies in the XVIII century.
It is hard thought to provide specific documentation regarding the exact details
of this adaptation or musical transformation. The guitar was added to the voice
in this process of adaptation from the primitive Tonás to the Seguiriyas.
The region of origin is Cádiz and Sevilla and it is very related to the Gipsy
population. Jérez de la Frontera, and the Triana neighbourhood in Sevillawere
a key scenario for the development of these styles
The chatacter of this palo is sad and drammatic and it is essentialy a musical
lament.
The rhythmic clave for the seguiriya is also shared with other variations of this
form like the Serranas, Livianas and Cabales. Also some other ones are
nowadays using this clave like Martinetes, that were originally used in gipsy
reunions after a day of work at the blacksmith workshop, interpreted without
rhythm accompaniment in the past.

Blacksmith workhsop XIX Century


 

38
 


 
Some representative names for seguiriya style are singers like Paco la Luz,
Manuel Molina, Joaquin la Cherna, Manuel Torres, Juanichi el Manijero, el
Tati, Tio José de Paula during the IX century, his discipule Tia Anica la
Piriñaca, El Agujetas or Terremoto de Jérez in the second half of the XX
century
Seguiriyas is one of the deepest forms in Flamenco, also one of the more
complex in regards to the nature of the melodies and its embellesments. The
relatively recent incorporation of these forms into the Flamenco dance
common repertoire, made that some of the forms that were derivated from this
family which didn’t use a metric system, but that were interpreted as rubatto
melodies with or without guitar, are now part of this family and represented
and choreorgaphied into the same rhythmic clave presented as follows.

Manuel Torre and his son Tomas Torre

Some examples of Seguiriya style and other forms derivated from this style are
presented here:

 
https://www.youtube.com/watch?v=870qmeQ_BLQ
 
Rito
 y
 Geografia
 del
 Cante,
 documentary
 about
 Tonás
 

 
https://www.youtube.com/watch?v=1yB1dTr3uA0
(Rito y Geografia del Cante, documentary about Seguiriya )
https://www.youtube.com/watch?v=j2rJuMG3AWg
(Manuel Torre Seguiriya )
https://www.youtube.com/watch?v=9sqe99IvREg
Serranas, el Chocolate

 

39
 


 
https://www.youtube.com/watch?v=LVt_-XntIIQ
Documentary about the first Flamenco manifestations, Tonas included, style from where
seguiriyas comes from. Relevant information to understand the nature and precedence of this
form of art and popular expression.

OLD SEGUIRIYA CLAVE
( Begginning of XX Century )

÷ 43 Û .

Û.

Û

Û

Û

https://www.youtube.com/watch?v=HidOun_WmBQ
( Old Clave clip example and modern guitar composition in this clave by Diego del Morao and
Jos´Mercé )
This was the rhythm used to interpret Seguiriyas among the XIX century and at least half of the
XX. The inclusion of the guitar and the development of the style slowed down the tempo and
muted into the next clave presented, also commonly transcribed as a mix of different time
signatures cycle with the following aspect : two bars of 2/8 or 2/4, 2 bars in 3/8 or ¾ and a last
one in 2/8 or 2/4. The most general transcription is 12 beats , represented by either eight or
quartet notes grouped as follows : 2-2-3-3-2

With the intention of simplyfing the learning process and in an attempt of persuading a more
smooth and continuous feel in the performance of this rhythm, I preferred to stay in one only
time signature, 6/4, trying to create a bigger cycle to keep openness for the expression in a total
of twelve beats divided in two measures.

“ELASTIC TEMPO or RUBATTO-IN CLAVE “

It is very important to have in mind through the process of listening and
learning about Flamenco and its rhythms the concepts of “elastic tempo” and/or
“rubatto-in clave”.

 

40
 


 

When listening to Flamenco pieces, while trying to identify the type of palo
form and it’s rhythms, the listener might struggle even trying to identify the
tempo of the piece itself, and therefore, having a hard time following or trying
to accompany it. It is very important to notice that , even when a Flamenco
piece is on time, and corresponding to any of its claves. It is very common to
notice tempo variations that might make the process of listening, identifying
and following/accompanying harder.
Traditional Flamenco has its most important element in the melodies
performed by the voice. It is a very characteristic element the elasticity in the
tempo of the melodies and therefore , in the accompaniment to them. This
stablishes a very interesting expresive element that makes even richer the
listening experience. The singers might make long or short a phrase whithin a
piece, and break somehow the tempo that he/she had been using before the
change.
The guitar player will follow this variations in tempo and will accommodate his
playing to the necessities of the singer. It is very usual to listen to pieces that
are in rhythm but that incorporate this concepts of rubatto-in time or elastictempo. The great thing about this is that it will be somehow in the parameters of
whatever clave its being played. The clave itself becomes elastic and it will be
totally dependent on the creativity and inspiration of the musicians.
When incorporating the claps and other percussions, the interaction and this
effect is normally harder to make successful, since there must be some sort of
consense between the clappers and the guitar player and/or the singer.
However it is possible that a whole band breathes together following the
melody and creating different senses of melodic and rhythmic motion.
It is very important to be aware of this phenomenon before getting frustrated
trying to identify the Flamenco Claves in recordings, especially in old
recordings.
The technological advances of the musical production world industry has
influented Flamenco recordings incorporating the use of “clicks” or
metronomes to stablish a fix tempo for the musical productions recorded now a
days. This has made a change in the use of tempo, limiting the motion to a
previously agreed tempo. Still in this circumstances Flamenco sometimes keeps
some flexibility and the piece might keep adjusting the tempo by being played
with a forward intention or a more layed back one in different moments of it.
In Flamenco when it is currently performed with an orthodox approach, the
elastic tempo or rubatto in time concept is always present, especially in medium


 

41
 


 
and slow tempo pieces. This is in my oppinion a very interesting particularity
that can be also appreciated in other music styles like classical, but that can also
be adopted by other styles like Jazz for example in a very constructive and
creative manner.
The fact that most of the current Flamenco recordings use metronomes or
clicks to stablish a fixed tempo is also influenting the way the new Flamenco
musicians understand Flamenco tempo elasticity and flexibility concepts, as
many musicians of the younger generations already have grown up listening to
a Flamenco more rigid in tempo concepts. A good consequence of this is the
fact that more sophisticated musical arrangements and orchestrations can be
done thanks to improving the accuracy in the use of tempo.
Personally I think it is important to be aware of this and to choose when
playing and recording wether to use a steady tempo approach or a flexible
tempo one.
Example of flexible tempo singing and guitar accompanyment in clave
Seguiriyas by Camarón de la Isla and PAco de Lucía
https://www.youtube.com/watch?v=Br0BzpxRhks

Camarón de la Isla y Paco de Lucía

CONTEMPORARY SEGUIRIYA CLAVE

6 Û
÷4


 

Œ

Û

Œ

Û

Œ

Œ

Û

Œ

Œ

Û

Œ

42
 


 

Example of Seguiriya with a steady tempo :
https://www.youtube.com/watch?v=Ls0ykeS_OA4
Paco de Lucía “ Luzia”, Percussion Tino di Geraldo

RHYTHM VARIATION OF THE CLAVE COMMONLY PLAYED BY
GUITAR

÷ 46 Œ
Flamenco standard count

Û

1

Û

Œ

Û

2

Œ

Œ

Û

3

Œ

Œ

4

Û

Œ

5

SEGUIRIYA FULL SECTION
q = 110

Clap 1

Clap 2

 

>
÷ 46 œ
>
÷ 46 œ
6

>

œ

>
œ

>
œ œ œ
j>

œ

>
œ

œ

>
œ œ œ
>

œ

œ œ œ
.

j

>
œ

œ

>
œ
>

œ

œ œ œ
.

j

>
œ
>
œ

>j

œ
œ
j

43
 


 

The tempo indicated in this example is medium, but actually the performance
of vocal seguiriya might be slower while in a choreography the tempo could go
from very slow to very fast (40-250bpm)
https://www.youtube.com/watch?v=lXgdnU43NZQ
Seguiriya choreography by Eva la Yerbabuena

Eva la Yerbabuena

SOLEA
Under the rhythmhic clave of this style, numeorus forms are derivated from a
same matrix.
These forms are : Soleá, Caña, Polo, Bamberas, Giliana, Romances, Solea por
Bulerías, Bulerías por Soleá, Arboreá, Peteneras, Guajiras.
*Guajiras is considered part of the group of “Palos de Ida y vuelta “, styles that
experienced the influences of South American Folklors due to the flow of


 

44
 


 
spanish emigration to the Americas. Still shares the clave with the rest of the
styles quoted previously.
All these palos share the same basic clave with different tempos and time feel.

BASIC CLAVE

6 Û
ã4

Œ

Œ

Û

Œ

Œ

Û

Œ

Û

Œ

Û

Œ

The next Clave is a variation of the previous one and it is the most commonly
used for all the palos. However the more basic rhythic cell is the one presented
previously.

6 Û
ã4

Œ

Œ

Û

Œ

Œ

Œ

Û

Û

Œ

Û

Œ

As previously indicated, the different palos that share the same clave have
different interpretation in terms of tempos, rhythm feel and character or
intention.
The next rhythm represents the basic pattern for Solea.
Solea is the one of these forms that is performed in a slower tempo.
SOLEA PATTERN

ã 46 Û

 

‰ Û Û
J

Û

‰ Û Û
J

Û

‰ Û Û
J

‰ Û Û
J

Œ
45
 


 

Quarter Note = 50-60 bpm

A solea performed by voice and guitar, including or not claps, will use mainly
this pattern, and it could also be subject to variations in the expresivity of the
tempo according to the flexibility and the elastic time in clave or rubatto in
clave concepts explained in the previous section.

https://www.youtube.com/watch?v=UsuL6mNrRmc
Camarón de la Isla and Tomatito
There are different types of soleares depending on the procedence of origin
and stylistic personal development. The examples below are in “Soleá clave”
belonging to different subcathegories of Soleá.

Soleá finds its origins in Cádiz and some other geographical points like Ronda,
Málaga or Triana in Sevilla are key for its development. The richness of its
lyrics and poetry makes also this style one of the deepest in Flamenco. With a
very drammatic character its melodies and their rhythmic placement make this
style and all its variations one of the most interesting to explore and to listen to.
Some of its variations or palos that are into the solea group are
Polo, Caña, Soleá por Bulerías and Bulería por Soleá, Bambera, Romances,
Giliana, Petenera, Jaleos, Arboreá or Bulerías.
More audio examples about Solea variations:
Documentary about la Soleá ( Spanish )
https://www.youtube.com/watch?v=yAA47QPYPzM
Bulería por Soleá, Tio Borrico
https://www.youtube.com/watch?v=7G0pZUe4gqI
Bamberas, Camarón de la Isla y Paco de Lucía.
https://www.youtube.com/watch?v=T-kp0Q7U6KE
Peteneras, Camarón de la Isla
https://www.youtube.com/watch?v=9t7Ca5qeHh0


 

46
 


 
Solea Por Bulerías, Luis el Zambo y Moraito
https://www.youtube.com/watch?v=-IDZy50ce-c
Giliana, Familia Mairena
https://www.youtube.com/watch?v=-IDZy50ce-c
Polo and Caña , Pepe de la Matrona
https://www.youtube.com/watch?v=5x0SHTK5SeU

Tomás Pavón

Tio Gregorio el Borrico

SOLEA GROUP OF STYLES FULL SECTION

j
÷ 46 ‰ œ œ

q = 60

Clap 1

Clap 2

Clap 3

Cajón
Hands:


 

÷ 46 Œ

œ

>
j
œ ‰ œ œ

œ

œ

œ

>
œ œ

>
>

j >
j >
j >
‰ œ œ ‰ œ œ ‰ œ œ
œ

>
œ œ

>
œ œ

>
œ

> j
>
>
>
>
j
÷ 46 ‰ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
÷ 46 x œ œ

R L R

>
œ x œ œ
R

R L R

>j
>
>
>
œ !11x œ ‰ !11xœ !11x œ

R

LRL R

LRL R

LRL R

47
 


 
In the next example the rhythm is in 12/8 trying to show an example of a
different type of transcription to the previously presented in this book,
considering the 8th note as the main unity of measure instead of the quarter
note

Pepe Pinto y La Niña de los Peines
Soleá is actually presented under 12/8 time signature in most of the cases,
however the claves were presented here in 6/4 in a two measure cycle to have a
more accurate sense of length of the notes and the tempo regularly used.

>
12
÷8 œ

q = 60

Clap 1

Clap 2

Clap 3

Cajón

>
12
÷8 œ
÷ 128 ‰

œ

œ œ œ
! œ œ

>
œ
>
œ

œ

œ

œ œ œ

œ

>
œ

>
œ

>
œ

>
œ œ œ

‰

> >
! œ œ œ œ

d i

d i d i

œ

>
œ

>
œ œ œ
>
œ œ œ

œ
œ
œ œ

>
>
>
> >
12
÷8 œ 1 1 x 1 1 œ 1 1 x 1 1 1 x œ 1 œ 1 x x œ 1 1 1
d i d i


 

œ

>
œ

d i

d i d i

d i

d i d i

d i

48
 


 

Normally the Solea has voice, guitar and claps, however for the dance, extra
percussion like cajón, frame drums, djembes, udu drums are also very
commonly used.

Juana Amaya al Baile, Sergio Martínez cajón

BULERIAS
It is probably the most popular form in Flamenco today.
It became more and more present from the last third of the XXth Century
thanks to artist like Camarón de la Isla and Pacon de Lucía.
It was born apparently as a fast resolution form added to Solea.
With clear signs of origin in Jerez de la Frontera, Cádiz, it has been there
where its development has been more preponderant. There are some other
townns in Andalucía where Bulería finds different genuine ways to be
interpreted. Lebrija, Utrera, Cádiz and Jerez are the main styilistic sources.
Every region has its specific characteristics and particularities in regards of the
time signature, feel and tempo they are represented.
In the past it was a style to accomany the dance. Definitely a form with a very
festive character. It should be noted that Bulería is now a days probably the
most popular style used in Flamenco reunions aswell as and in the social
reunions or celebrations in the Gypsy community.

Buleríias de Jérez

 

49
 


 
https://www.youtube.com/watch?v=wDPkkND9pPQ
Bulerías de Cádiz
https://www.youtube.com/watch?v=J2m6e-AqRBI
Bulerías de Utrera
https://www.youtube.com/watch?v=2R8OtaA2eqg
Bulerías de Lebrija
https://www.youtube.com/watch?v=wMh_9Y0JdWo

Regarding the rhythmic aspects of this form, originally Bulería was played in ¾
or 3/8 considering how at the beginning of the xxth century this style was
played very fast.

Farruco, Flamenco dancer.

After noticing a great confusion around the rhythmic nature of this palo for the
novel international Flamenco students, and realizing that because of its
popularity, it has trascended into other musical environments and many times
its understanding results very difficult and limited. I have appreciated that a lot
of methods present it as a mix of different types of time signatures. Most of the
times associated to a popular account in the Flamenco world if the last three
decades because of consense necessities in the dance arrangement of
choreographies to music.


 

50
 


 
I am trying to present this style in the most wide perspective as I could get so
far.
That is the reason why I want to introduce this rhythm as a rhythm in 6/4
Trying to preserve the importance of the flow and feel of its performance over
the intelectual acknowledgement of it, trying to not limit the cycles into a 12/8
very specific pattern that became popular internationally and that is in my
opinnion just one pattern that is characteristic from Bulería , the clave of the
Soleá group of styles.
It is important to know where this style is coming from,the solea, therefore, it
shares its clave, but its development has gone beyond that clave and it became a
wider rhyhtmic field.
I want to share this opinion about the topic, considering the basic unit of
measure the 6/4. However we will consider different ways to group the notes:
12, 6, 3 and 2. Bulería is not only in 6/4 or 6/8, it is in 12/8, in 3/4, 3/8 and 2/4 or
2/8. The melody will determine what subdivision to use to accompany it. That is
in my opinion why limiting the consideration of bilerias to only 12/8 wouldn’t
be very accurate when many times we accompany this style from the rhythm
section perspective in 6/4/ ¾ and 2/4 regarding the grouping of the notes.

BULERIA BASIC CLAVE

q = 180

>
÷ 46 Û

Û

Û

>
Û

Û

Û

This is the most basic way I found to present the clave for this rhythm.
Considering of course the harmonic rhythm and the melodic rhythms too.
When accompanying, trying to react to these elements with the suitable
particular feel of this style and approaching it as any other music style. Melody
leads the accompaniment.


 

51
 


 

Tomatito

Moraito Chico

BULERIA EXAMPLE ONE FULL SECTION

>
6
÷4 œ

q = 200

Clap 1

Clap 2

÷ 46 Œ

Clap 3

÷ 46 œ .

Cajón
Hands :

>

œ

>
œ

œ

œ

œ

Œ

œ

>
j
œ œ

œ.

>
œ

œ

>
œ

œ

Œ

œ

>
œ

œ.

‰ Œ

œ

œ

œ

œ

œ

Œ

>
œ

œ

j>
œ œ

œ.

‰ Œ

>
6
÷4 œ 1 1 x 1 1 œ 1 1 x 1 1 œ 1 1 x 1 1 œ 1 1 x 1 1
R L

R L

R L

R L

R L R

L

R L

R L

R L R

L

Œ

Û

R L R L

BULERIA CLAVE FROM SOLEA, 12 BEATS
q = 200

6 Û
÷4

Œ

Œ

Û

Œ

Œ

Û

Œ

Û

Œ

This clave responds to the 12 beats approach that is adquired from the solea
rhythm. This is the basic pattern from where the more extended and known
pattern comes from.


 

52
 


 

Vicente amigo
BULERIA EXAMPLE 2 FULL SECTION

>
÷ 46 œ

Clap 1

>
6
÷4 œ

Clap 2

>
6
÷ 4 œ.

Clap 3

Cajón
Hands:

œ

œ

>
œ œ œ
œ.

>

>
œ

>j
œ œ

œ

œ
‰ Œ

>j
œ œ

>
œ œ

Œ

>
œ

j >
œ œ.

œ

œ œ œ

>

>
>

>
œ œ

œ

œ œ œ
j
œ œ

œ.

œ
‰ Œ

>
>
6
÷4 œ 1 1 x 1 1 œ 1 1 x 1 1 œ 1 1 x œ 1 1 x œ x 1 1
R L R L R L

R L R L R

L

R L R L R L R

L R L R L

STANDARD 12 BEATS BULERIA CLAVE

q = 200

6 Û
÷4

2


 

Œ

Œ

Û

Œ

Œ

1 2

3

4

5

Œ

Û

6 7 8

Û

Œ

Û

Œ

9 10 1

53
 


 
This is a very common way to found bulería presented in methods and learning
resources all around. This is definitely one way to see it. Notice how the
popular count names the actual one as “two” , and meaning actually beat 12 of
that count. This is exremely confusing for most of the novel Flamenco students
internationally.
I suggest the next options to count this rhythm, hoping that this approach can
provide more freedom for the accompanist and composers too.
BULERIA NOTE GROUPING OPTIONS

q = 200

6 Û
÷4

Œ

Œ

Û

Œ

1

2

3

4

5

1

2

3

4

1

2

3

1

2

1

Œ

Œ

Û

Û

Œ

Û

Œ

6

7

8

9 10 11 12

5

6

1

2

3

4

5

6

1

2

3

1

2

3

1

2

3

2

1

2

1

2

1

2

1

2

These are, under my perspective, different ways that in actual musical
situations the rhythm finds grouping of notes depending on the rhythmic
development of the melodies. This might seem very obvious, but I want to
really emphasize that the Bulería style is not only what is being known
internationally like a pattern counted like “1 2 1 2 3 4 5 6 7 8 9 10 :]”
This style is rhythmicly so much open than just that. That is of course a very
specific pattern for bulería and other styles, but depending on the style and
procedence of the bulería, the time signature, the feel and the tempo will be
totally different. Trying to understand Bulerías using just that pattern is going
to make the comprehension of its rhythmic richness more difficult and limited.

 

54
 


 
Be open and be musica. Don’t let the mistery around the things distract you
from your own listening and musical and intelectual understanding. Just
respect the tradition with humility and be open to be surprised always and to
change your new intelectual conceptions.
BULERIA EXAMPLE 3 FULL SECTION

Clap 1

Clap 2

Clap 3

Cajón
Hands:

>
÷ 46 œ
>
6
÷4 œ

>
6
÷ 4 œ.

œ

œ

>
œ œ œ
œ.

>
œ

>j
œ œ
>j
œ œ

œ

œ

œ

>
œ

‰ Œ

>
œ.

Œ.

>
œ

œ

œ œ œ
œ.

>
>

>
œ

œ

œ œ œ
j
œ œ

œ
œ
j
‰ ‰ œ

>
> >
>
6
÷4 œ 1 1 x 1 1 œ 1 1 x 1 1 œ x œ 1 œ 1 1 x œ x 1 1
R L

R L

R L

R L

R L R

L

R L

R L

R L R

L

R L R L

Examples of Bulería guitar solos

https://www.youtube.com/watch?v=Wy3aACBMkIY
Bulería guitar solo Paco de Lucia, percussion Rubem Dantas and Joaquin Grilo
Bulería guitar solo Diego del Morao
https://www.youtube.com/watch?v=tlNl_kRRgr8


 

55
 


 

CHAPTER 2 ( Introduction to Book 2 )

IN PROGRESS
Additional percussion and patterns
2.1 FLAMENCO CAJON
THE CAJON,

the most succesful percussion instrument adopted from other

musical traditions
“A short story”

More percussion instruments other than claps and cajon are used in Flamenco music,
incorpotated originally from other musical traditions. The ones that come from
folklores related to the specific origins of Flamenco, normally work very well in terms
of timber, preserving the spirit of the aesthetics of the style adding textures and timbric
color.
Different instruments will be presented in this work as complementary elements and
rhythmic ideas for the Flamenco percussion section.
The next example is a patten that works as a complementary, adding a lower
frequency under the cajon low sound, making a bass function.

Additional percussion fandango de Huelva

 
Djembe

Hands:

>
j
÷ 43 œ œ œ œ œ ‰
q = 140

R L R

L

R

>
œ œ œ
R L

R

Œ

>
j
œ œ œ œ œ ‰

R

L R

L

R

>
œ œ œ

R

L

R

Œ

56
 


 

Other percussion instruments were also used traditionally in Fandangos de Huelva
style in the past, like frame drums, some types of tambourines with jingles or even
ceramic pots. In this days the use of instruments original from other cultures and
folklores is very common in Flamenco, however, not all the instruments help
contributing to keep an aesthetical function, and some of them really take it far from
what the essences of the origin of Flamenco art are, sometimes positively, contributing
to explore other musical possibilities, sometimes giving a less successful result, as the
textural spectrum goes too far from colors that would be close, directly or indirectly
from the essences of Flamenco. However, this topic will be addressed later on in this
book.
The next pattern shows a very traditional way to accompany Fandango de Huelva
singing in all type of contexts.
In Flamenco music, the voice is the main element and there are many representations of
percussive elements being the only accompaniment to it. Many times using all types of
things as musical instruments. A very common one is the use of the hands playing
percussively on a table. This use developed a very particular technique in the use of the
hands, providing the artists a great ability in the use of the knuckles.

q = 140


 Knuckles on table
One hand

>
÷ 43 œ œ œ œ œ œ œ

>
œ œœœ

Œ

>
œ œœœ œœœ

>
œ œœœ

CHAPTER 3 ( Introducing book 3 ) IN PROGRESS
>
>
>
>
>
5 >
÷œ œœœ œœœ
œ œœœ Œ
œ œœœ œœœ
œ œœœ

Œ
Œ

3.1 FLAMENCO MULTI SET UP FOR DRUMMERS AND
PERCUSSIONISTS

 

57
 


 

3.2 ARRANGING AND COMPOSING
ARRANGING AND COMPOSING IDEAS FOR CONTEMPORARY
RHYTHM SECTION BASED IN FLAMENCO RHYTHMS


 
 

 

Percussion multi set up example :

q = 140

Hi-Hat Cymbal

Hands

Snare Drum

Cajón

>
3
÷4 œ

œ

j
‰ œ Œ

r

r

œ

r

r

÷ 43 Œ

÷ 43 œ x œ Œ
l

Bass Drum
right foot

œ

>
œ

÷ 43 Œ

l l

œ

r

l

Œ

Œ

œ

>
œ

r

r

œ
l

j
1 œ x 1 œ ‰ Œ
l

Œ

l

l

l l

‰ œ œ
J

Œ

Œ

œ

œ

>
œ

j
‰ œ Œ

r

r

œ
r

œ xœŒ

r

l

l l l

Œ

r

x

Œ

1 œ œ 1œŒ

Œ

l l

œ œ. Œ

Œ

Œ

l

Œ

l l

‰ œ œ ‰
J J

About the learning source
In this project is included a copy of the first draft of the book 1 of the series of
books about Flamenco music and rhythms under the title
This series of 3 books is a long-term project of researching and developing and
improving this didactic material under the title of Fundamentals of Flamenco

 

58
 


 

Rhythms and percussion.
Presented in three books, the first one, a historical introduction about Flamenco
Music and a compilation of the main rhythms used today.
The second part will extend information directed specifically to percussionists
and drummers with especial interest in Cajón, the Flamenco percussion set up
and very particular and extended information about rhythms and patterns for
each one of the rhythms explained in chapter one for different percussion
instruments in Flamenco style.
The third part consists of materials intended for the use of this information in
other musical contexts. A part that will embrace developed examples of the
rhythms into a multi percussion set with instruments from different traditions and
musical styles.
Another part directed to a creative use of this information into other music styles
like Jazz, classical, world music and contemporary for arranging and composition
purposes.
Most of the contents in Part one of the book are included in the section and at
this point , pending of edition and writing reviewing


 

59
 


 

This project has a multilateral approach through

-Researching, exploring and investigating.
-Documenting and compiling information

The extension of this work leads the project into a possible thesis in the context


 

60
 


 
of a PHD investigation project. Expanding the research and achievements into an
ethno-musicology and creativity approach.

The research process
Although the main amount of the work done into this project has taken place from
September 2013 to July 2014 in Valencia Spain, there is a previous field
investigation process that started around 1998.
As a Flamenco percussionist, I have always been looking for answers to the
essential questions about the origins and nature of Flamenco music.
This exploration process discovering and learning the basis of
Flamenco music and culture has been the perspective through I have observed
the musical area that captured my attention in the first years of my career as a
musician. After appreciating how valuable this music is for any musical creator,
and how this ancient information has the weight of history into its favor
appreciated from some of the most relevant musicians in the world of Jazz, I
decided that it would make sense to try to get this information closer to anyone
with the goal of preserving, sharing and expanding the amount of publications
made on this topic.

The first part of my research consisted of finding and reading/analyzing as much
publications about Flamenco music as possible to have a wide perspective on


 

61
 


 
what approaches were interesting to me and which ones had more deficiencies
under a personal perspective.
I focused this reading not only into finding good social and historical explanations
about the origins of the forms in Flamenco music, but into analyzing pros and
contras of the specific transcriptions about rhythm that I founded. Learning how
these were conceived in very diverse ways depending on the author’s approach
and what the main approach of the book was.
My first conclusions about the readings agreed with the ones that I had from
personal experiences with students that in the past had asked to me very similar
questions about specific rhythms. Sighting this way what in my opinion might be
the most common deficiencies in the process of educating about Flamenco
Music.
After reviewed drafts, I made a compilation of the most important rhythms, using
Finale as the music transcription software.
An important aspect for actually testing the efficiency of the transcriptions and
concepts presented as educational tools, was an actual course that I taught
during the 2014 summer semester in Berklee College of Music Valencia Campus
under the title “Flamenco Rhythms and forms applicable to other music
styles”
Really positive responses to the material taught and the clarity of the lectures
and some good suggestions for modifications from my students feedback.


 

62
 


 
An improvement of my teaching skills due to the knowledge acquired during the
research process and overcoming the challenge to teach students from diverse
provenances and majors with a very high level profile.

THE CREATIVE INNOVATIONS
Under this statement, the process has been developed into composition and
arrangement based on Flamenco Rhythms as an stylistic and language creative
source.

More than 30 recording sessions between October 2013 and July 2014.
In these sessions, as a leader or as a side man for other student projects the
main goal has been exploration. Always looking for interesting ways to use the
musical language I had acquired in my past as a Flamenco percussionist, looking
into how fitting that language into other music styles. The main style this
exploration has had place is Jazz and improvisation when being the leader, but
also into singer-songwriting, American folk, chines pop, film-scoring
To name a few.

COMPOSITION AND ARRANGEMENTS

An essential side of this project is the use of Flamenco Rhythms into composition
and arranging.


 

63
 


 
Attached is a piece written for the Berklee Global Jazz Jazz nonet entitled “CJ”
and which main concept is the use of rubatto melodies from 4/4 over 6/4 in
Bulería style.
This composition was recorded in the Berklee Valencia Studios in march 2014
and it can be listened to in the next link www.sergiomartinez.pro
The main challenge was to write the piece for such a big ensemble and to
produce and lead the recording session and rehearsals with a very limited
amount of time due to the reduced time of stance of the band in the country.
The result was in my opinion very positive as the music fitted naturally into this
Flamenco rhythm while keeping the spirit of both traditions, Jazz and Flamenco.
The outro section of this piece is based in the concept of the different note
grouping options inside rhythms like soleá. A bass line with a cycle of two
measures using note grouping concepts combined with the claps of the solea por
bulerias rhythm is already a very interesting field for a collective improvisation
outro section
Other explorations were made mixing a clear Jazz/blues language with Bulerias
rhythm, In one arrangement of “Summertime” the concept is a polyrhythm
between the 4/4 of the original tune, superposed by the 6/4 time signature of this
Flamenco Rhythm. This recording took place in April at the Studios in the Berklee
Valencia campus and the result was also satisfactory.
The whole process is about finding links between both Flamenco and Jazz.
Finding similarities and roots that both styles have in common but whose musical
coincidences are hidden like a treasure, ready to be discovered.


 

64
 


 
The third part of the creative exploration is Improvisation. Several sessions had
the approach of meeting with musicians who had a high level as improvisers and
try to create something interesting using these rhythms as a reference or a
meeting point. Some of the results were very satisfactory, but finding a balance
between the amount of preconceived concepts prior to the recording and the
development of the musical ideas and the piece itself, was the highest challenge
to overcome in this field. I made a series of improvisation recording sessions with
three high level improvisers and pianists : Alon Yavnai, Albert Sanz and Christian
Li. Both three of them, serious improvisers with different backgrounds but a
common denominator: A big interest for Flamenco Music as a source of new
ideas and inspiration.

Bass line in the Outro section of CJ. 12/8 Solea por Bulerías
Sergio Martínez®
Buleria-2

Bass
A b maj7

G m9

C m7

F m7

A b maj7

G m9

A 7( b 9)

? b b ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’To’Coda
’ ..
b

34

Outro (open)

%
? b b .. # œ
b

38


 

? bb # œ
b

40

#œ
#œ

œ
œ

#œ
#œ

œ #œ œ
œ #œ œ

n˙
n˙

#œ
#œ

#œ
#œ

œ Nœ œ
œ Nœ œ

65
 

..


 

Bass line in the Outro section of CJ. 12/8 Solea por Bulerías
Sergio Martínez®

The mix of the different instruments from a western contemporary context with
the voice of the Indian singer symbolize the union of two musical worlds. The
origins of Flamenco through the influence of the Gypsy trip from Indian and Egypt
until their settlement in Andalucia. The sounds of Jazz through the development
of the harmony and improvisation and language find very interesting similitudes
in this fragment of the piece.

Tenor sax part of the composition CJ, recorded at the Berklee Valencia Campus
by the students from the Berklee Global Jazz Institute


 

66
 


 

Digital learning source.

The book includes audios and links clickable from a PDF version of the work, as
an ebook.


 

67
 


 
A very interesting part of the documentation of this work has been compiling the
materials in the book into audio and HD video.
The process of documenting this information involved as well video recording
and editing video lessons that still will need to find a way to be published.
Many of the materials are rough video files still pending of edition.
The video sessions were made at the Berklee Valencia recoding studios, using
HD cameras with one operator plus one assistant and an audio engineer working
on getting the best sound as possible using high quality microphones too.

In order to publish this video-lessons work, there has been also a research into
what are the resources online that could be interested in promoting and sharing
this information. As a conclusion about this, the video material needs to be totally
finished about edition in order to be properly offered to any course online
commercial platform.
I reserve the option to publish it through my youtube channel as a last option to
reach a targeted audience and to share this video/pdf documentation.
However, as a part of my project, I created a website to promote my presence
online as an artist and educator online.
http://www.sergiomartinez.pro

CONCLUSIONS
LEARNING
Making this project has been a very important source of learning supervised by


 

68
 


 
my teachers at Berklee, making of this experience the best one I could have.
Some are concrete aspects that I consider have been benefited from this process
A notably improvement of my knowledge about Flamenco music and tradition,
under an ethno-musicologist perspective due to the extended amount of reading
and web searching during the researching process.
Improvement of my transcription skills and control of “Finale”.
Improving of my organization skills. Planning schedules and tasks, reviewing
deadlines and acknowledging limitations and challenges to overcome.

From the musical creative exploration the process has facilitated me new ideas
for arranging and composing and to getting positive proofs that some of my
visions in thoughts ore creative intuitions first, and in the music paper later, had
an interesting result from a contemporary composer and performer point of view.
Improvement in my skills as a studio recording session leader, due to the
numerous sessions that in the search of musical results based I organized since
October 2013 until July 2014.
Improvement in my experience as an improviser and the achievement of
interesting ideas to use in this field as a result of the constant use in
improvisation recording sessions of these Flamenco Rhythms in many different
ways.
Noticing how the information that had formed my musical language for years, the
rhythms in Flamenco music, can be an interesting source of fresh creative ideas
for musicians and artist from other styles, or even other forms of art.


 

69
 


 

Being aware of having a very important tool as an educator and appreciating how
these materials can have many different uses into the educational field.
From arranging and composing to a strong class of rhythm development. Stylistic
specific composition for film scorers and tools for improvisation.
How to design an extended plan of studies and following it. I taught a course
specifically about the topic of Flamenco rhythms during the semester with the
goal of testing the materials developed so far and make improvements in the
aspects that were more deficient.
Improvement in my presentation skills due to the public presentation of the
project in Campus.

REFERENCES

Bibliography


 

70
 


 
Magna Antología del cante Flamenco Jose Blas Vega, Ed. Hispavox
El Flamenco, Alicia Mederos. Ed Acento Editorial
Teoría musical de la guitarra Flamenca, Manuel Granados. Edit. Casa
Beethoven.
Todo Flamenco, Faustino Nuñez. Edit Club Internacional del libro
Historia de la Música Andaluza. Antonio Martín Moreno. Biblioteca de Cultura
Andaluza.
El Flamenco en las aulas de música. Lola Fernández. Lacallemayor.net

Videography
Enciclopedia Rito y Geografia del Cante Flamenco. ( RTVE )

Discography
Magna Antología del Cante Flamenco, Jose Blas Vega, Editorial Hispavox

Web references
Junta de Andalucía , Centro Andaluz de Flamenco
http://www.juntadeandalucia.es/culturaydeporte/centroandaluzflamenco
http://www.andalucia.org/es/flamenco/historia-y-origenes-del-flamenco/


 

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Radiolé
http://www.radiole.com/especiales/enciclopedia_flamenco/fandangos.html
http://www.flamenco-world.com/magazine/about/baile_breve/ebail191120071.htm


 

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APPENDIX
Fragment of a document where I organized my tasks and deadlines
PREFACE
INTRODUCTION SECTION
Pending Tasks:
Writing the introduction about the Style maximum two pages. ( Based
on research Already made Deadline June 8th
CHAPTER I
Writing short paragraphs describing every style, social function, main
geographical development and tempo ranges Deadline June 8th
Finale, figure out how to type just one line for rhythm claves

CHAPTER II Cajón patterns and other percussion instruments
Write a chapter about Flamenco percussion evolution: “FROM THE
CLAPS TO THE FULL PERCUSSION SECTION” Deadline June 11th
TRANSCRIBE CAJON VARIATIONS FOR THE RHYTHMS IN CHAPTER I
Deadline June 11th
CHAPTER III ( INTRO TO VOL II AND III )
TRANSCRIBE SOME EXAMPLES/IDEAS FOR FLAMENCO PERCUSSION
MULTI SETUP Deadline June 11th
TRANSCRIBE a few IDEAS FOR CONTEMPORARY RHyTHM SECTION
BASED ON THE RHYTHMS PREVIOUSLY PRESENTED mainly for
(JAZZ,songwriters, neo-soul)
Bass, Keyboards/guitar/perc/drums Deadline June 11th


 

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