My flamenco teacher Olli (he studied flamenco in Rotterdam as a student of Paco Peña), back in Hannover always said, "Flamenco itself is not one and only thing", but a passion that consists of different main dances, which can have different sub-dances or variations depending on where you live in spain. Basically it's all about the dance and its compás, to which the guitarist adds a little more expression, like colors in a painting. How the guitarist ultimately does it is up to him within the framework of a few standards, freely interpretable - he creates the make-up😊🙏🏻 Small example, over 20 years ago I was able to experience the great Paco de Lucia live in nearby Hannover😍 He had a world-class dancer and other very good musicians with him. At that time I was fixated on counting the bars and whether you start on 12 or on 1 - or whether it is 1 2 *3* 4 5 *6* 7 *8* 9 *10* 11 *12* or *12* 1 *2* 3 *4* 5 *6* 7 8 *9* 10 11 .... is typically german, “there MUST be some logic”😅 To my astonishment, Paco de Lucia was basically just an accessory to the overall work, like every other musician... of course he did magic with his hands from time to time, but that was less important to him. For him it was about conveying a feeling and understanding this lifestyle and everyone's incredible passion for this feeling. In the end I understood what was meant and was able to tap with my hand on my thigh, purely out of feeling - without counting - from then on it begins to internalize, the understanding of it 🙏🏻 As I understand it, there are excellent musicians like Paco and absolutely *you* - outstanding flamenco guitarists, but they and you have long since passed this threshold and have found an own style, as can be heard first-class on your albums. So you are, so to speak, turning this art into another, independent art - and that's a good thing..... otherwise it would quickly become boring 🙏🏻 When I left Hanover, I couldn't find another teacher at the time and over the years flamenco faded away (we had no UA-cam, just teachers and books😅) from me as I tended to do my own things but then mainly concentrated on building instruments until today. When it came to playing the guitar, my skills were only limited to a limited extent, far enough or more for me and others - but way far from excellent. But I then perfected my skills in construction and set up my own small private workshop in which I dedicate myself to "my" passion 😌 Greetings from Michael/germany
Thank you for your message! Greetings from Finland and next autumn I'll visit Germany again and play some concerts. Really nice country to play and travel!
You are an asset to this art, and to teaching this beautiful style; great approach and very understandable. Learning so much so quickly from your videos. Sigue hermano!
Very happy to have stumbled upon your channel sir.. Thanks for sharing your valuable knowledge about this fascinating instrument... Love your channel... 🙏🙏🙏
@@JoonasWideniusOfficial wow that's great news.... I shall eagerly wait for that upload... And I already know that it will be a great video... Thank you so very much MAESTRO 👍
Do you use this version of B chord at 3:22 because it is more flamenco? When you say no barre, is that to simplify the fingering (because for me a barre chord is a lot easier and faster to make than the 10330 chord you show), or that its just the proper chord to use?...thx!
It's hard to keep this short but there are many reasons. First, you can use normal barré BUT you won't be able to play certain tricks in the future with barré, or it comes trickier. 2. It sounds"more flamenco" yes :-). 3. In the end when you play 50min concert, it's not so hard for the hand muscles. Remember, barré is always harder for muscles even it can first feel faster and easier. Usually when it feels easier and faster tells you that your fingers are not yet very exacts, precise and trained. When your fingers find easily their slots/frets separately without thinking, it means that you have succeeded with separating fingers. Did this help you?
@@JoonasWideniusOfficial yes, you answered my question perfectly and I thought that it was probably so. I really appreciate the time you took to respond...thx!✌
Your question is really common. The basic ideas are that you should be able to start the compás anywhere, I mean on almost every count. Usually people start on 12 but many falsetas start on 1 or before 12, somewhere around 8-11. Many players start the very first compás on 1 but after that it mixes totally and the 12 sounds more like the beginning. Here's is no 100% rule except, you have to be able to start anywhere. Hope this helps you. Bulería is maybe the trickiest palo because there are so many variations in everywhere. Like half compáses too that can confuse.
Nice tutorial but if you had explained left hand step by step would have been perfect,the angle is not good to see((( split into small parts learn and practice! is hard to find a good tutorial(
Hmmm.. if I understood right what you mean then I would answer like this: if you have to think how to take chords and the playing position, then I would recommend to start with different material. This video's point is to show the basic bulería chords and rhythm, so I don't explain REALLY basic things here that you described. If you just started playing, and don't know how to keep your hands etc. then you would need different material. This is one of the hardest flamenco rhythms, so it's not very good material to learn very starting material. Did I answer you well??? Hopefully I did :-)
My flamenco teacher Olli (he studied flamenco in Rotterdam as a student of Paco Peña), back in Hannover always said, "Flamenco itself is not one and only thing", but a passion that consists of different main dances, which can have different sub-dances or variations depending on where you live in spain.
Basically it's all about the dance and its compás, to which the guitarist adds a little more expression, like colors in a painting. How the guitarist ultimately does it is up to him within the framework of a few standards, freely interpretable - he creates the make-up😊🙏🏻
Small example, over 20 years ago I was able to experience the great Paco de Lucia live in nearby Hannover😍 He had a world-class dancer and other very good musicians with him.
At that time I was fixated on counting the bars and whether you start on 12 or on 1 - or whether it is
1 2 *3* 4 5 *6* 7 *8* 9 *10* 11 *12*
or
*12* 1 *2* 3 *4* 5 *6* 7 8 *9* 10 11 .... is
typically german, “there MUST be some logic”😅
To my astonishment, Paco de Lucia was basically just an accessory to the overall work, like every other musician... of course he did magic with his hands
from time to time, but that was less important to him. For him it was about conveying a feeling and understanding this lifestyle and everyone's incredible passion for this feeling.
In the end I understood what was meant and was able to tap with my hand on my thigh, purely out of feeling - without counting - from then on it begins to internalize, the understanding of it 🙏🏻
As I understand it, there are excellent musicians like Paco and absolutely *you* - outstanding flamenco guitarists, but they and you have long since passed this threshold and have found an own style, as can be heard first-class on your albums. So you are, so to speak, turning this art into another, independent art - and that's a good thing..... otherwise it would quickly become boring 🙏🏻
When I left Hanover, I couldn't find another teacher at the time and over the years flamenco faded away (we had no UA-cam, just teachers and books😅) from me as I tended to do my own things but then mainly concentrated on building instruments until today.
When it came to playing the guitar, my skills were only limited to a limited extent, far enough or more for me and others - but way far from excellent. But I then perfected my skills in construction and set up my own small private workshop in which I dedicate myself to "my" passion 😌
Greetings from Michael/germany
Thank you for your message! Greetings from Finland and next autumn I'll visit Germany again and play some concerts. Really nice country to play and travel!
simple things played well... Great advice!
Thanks!
Hey Joonas, now I got the buleria rhythm finally after seeing this video. Excellent video. Thanks.
👍 explicación muchas gracias.
Thank you 💕
You are an asset to this art, and to teaching this beautiful style; great approach and very understandable. Learning so much so quickly from your videos. Sigue hermano!
Thanks! 🙏
Fantastico👍
Very happy to have stumbled upon your channel sir.. Thanks for sharing your valuable knowledge about this fascinating instrument... Love your channel... 🙏🙏🙏
Thank you very much! Really appreciate that! Later today a new soleá por bulería video coming out...
@@JoonasWideniusOfficial wow that's great news.... I shall eagerly wait for that upload... And I already know that it will be a great video... Thank you so very much MAESTRO 👍
Eso!
Do you use this version of B chord at 3:22 because it is more flamenco? When you say no barre, is that to simplify the fingering (because for me a barre chord is a lot easier and faster to make than the 10330 chord you show), or that its just the proper chord to use?...thx!
It's hard to keep this short but there are many reasons. First, you can use normal barré BUT you won't be able to play certain tricks in the future with barré, or it comes trickier. 2. It sounds"more flamenco" yes :-). 3. In the end when you play 50min concert, it's not so hard for the hand muscles. Remember, barré is always harder for muscles even it can first feel faster and easier. Usually when it feels easier and faster tells you that your fingers are not yet very exacts, precise and trained. When your fingers find easily their slots/frets separately without thinking, it means that you have succeeded with separating fingers. Did this help you?
...and one important thing more is that there are some variations for that chord that people use. Like m7, maj7, barrée bb9/F etc. etc.
@@JoonasWideniusOfficial yes, you answered my question perfectly and I thought that it was probably so. I really appreciate the time you took to respond...thx!✌
Hi, is it ok to start in 1? I thaught its start in 12
Your question is really common. The basic ideas are that you should be able to start the compás anywhere, I mean on almost every count. Usually people start on 12 but many falsetas start on 1 or before 12, somewhere around 8-11. Many players start the very first compás on 1 but after that it mixes totally and the 12 sounds more like the beginning. Here's is no 100% rule except, you have to be able to start anywhere. Hope this helps you. Bulería is maybe the trickiest palo because there are so many variations in everywhere. Like half compáses too that can confuse.
@@JoonasWideniusOfficial thanks, it helps verymuch
Nice tutorial but if you had explained left hand step by step would have been perfect,the angle is not good to see((( split into small parts learn and practice! is hard to find a good tutorial(
first you learn step by step the left hand and right,how to hold hands memorise it than think of rithm ,you have an mixture of everytihng ,confusing
Hmmm.. if I understood right what you mean then I would answer like this: if you have to think how to take chords and the playing position, then I would recommend to start with different material. This video's point is to show the basic bulería chords and rhythm, so I don't explain REALLY basic things here that you described. If you just started playing, and don't know how to keep your hands etc. then you would need different material. This is one of the hardest flamenco rhythms, so it's not very good material to learn very starting material. Did I answer you well??? Hopefully I did :-)
@@JoonasWideniusOfficial thnx