Chords for ENTIENDE EL COMPÁS FLAMENCO FANDANGO DE HUELVA
Tempo:
49.9 bpm
Chords used:
Eb
E
G
Gm
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
[A] Let's get started with another series [Eb] of videos to understand flamenco rhythm, how it's counted, how it's measured, and in this case, it's the turn of the Fandangos from Huelva, right?
a series of 12 beats are needed to complete a measure.
You see that in flamenco, the 12-beat rhythm is repeated because in the Solide, the Caña, the Alegrias, the Valeria, the Caracoles, well, they are repeated,
tonality.
right?
2, 3, and 4.
[F] So, the particularity it has is that [G] if we look at the rhythm or the falsetas, they are usually always accented in a way that makes them [Eb] very unique, right?
Like any of the others.
a series of 12 beats are needed to complete a measure.
You see that in flamenco, the 12-beat rhythm is repeated because in the Solide, the Caña, the Alegrias, the Valeria, the Caracoles, well, they are repeated,
tonality.
right?
2, 3, and 4.
[F] So, the particularity it has is that [G] if we look at the rhythm or the falsetas, they are usually always accented in a way that makes them [Eb] very unique, right?
Like any of the others.
100% ➙ 50BPM
Eb
E
G
Gm
D
Eb
E
G
_ _ [A] Let's get started with another series [Eb] of videos to understand flamenco rhythm, how it's counted, how it's measured, and in this case, it's the turn of the Fandangos from Huelva, right?
_ [N] The Fandangos from Huelva, well, a series of 12 beats are needed to complete a measure. _ _ _ _ _
You see that in flamenco, the 12-beat rhythm is repeated because in the Solide, the Caña, the Alegrias, the Valeria, the Caracoles, well, they are repeated,
but what does differentiate one from the other is always the rhythm, the accents that it carries, on which [Ab] the music is based, and in this way, and also changing the chords or the tonality.
_ _ _ _ [Gm] Different [G] styles are created, right?
[Eb] Well, in this case, I have marked 4 groups of 3 [Gm] beats.
This is a group, 2, 3, and 4.
[Eb] _ They are what form a measure of the Fandango de Huelva. _
_ [F] _ _ So, the particularity it has is that [G] if we look at the rhythm or the falsetas, they are usually always accented in a way that makes them [Eb] very unique, right? _ _ _ _
Like any of the others.
[G] _ _ I'm going to use a falseta that I already uploaded [A] from Fandango de Huelva and a bit of rhythm and I'm going to mark it with the pen [Gm] and you'll see the similarity it has or
_ _ [Ab] how it's based on what I have written here on the board.
[Gm] Ok, I'm going to press play and now we'll tell you.
Come on, let's go.
[Eb] _ Ok, it would be [Bb] 1, 2, 1, 2, 1, 2, 1, 2, [Eb] 3.
Come on, let's go. _ _
_ [G] _ [E] We're finished.
_ [D] _ [E] Another one.
_ _ _ [B] _ _ [E] _ _ _
_ [D] _ _ _ _ [C] _ [B] _ _
_ _ _ _ _ [E] _ _ [E] _
_ _ _ _ _ [D] _ _ _
_ [B] _ _ _ [E] We're done.
Ah, we're done, excuse me.
[G] _ _ _ _ [N] Notice that the falseta and also the rhythm wheel that keeps repeating, well, it ends here on beat number 12.
Ok, therefore, I always say the same thing, uh, study what the rhythm is, internalize it.
_ _ _ _ _ Sometimes the best way, the best way to internalize it is to do that clapping game or even play on the guitar, on the guitar box and count. _ _
This makes us more familiar and internalize it, right?
_ I've told you sometimes, and I don't want to go on too long, that based on a beat I've been driving in the car and singing a melody that I liked, that I've created myself.
_ And all I've had to do is look for what I have in my head on the guitar.
_ But it's true that what I've thought of has always [Eb] come out after having internalized a beat.
_ _ _ This is what great guitarists do and they make those unique falsetas of theirs that are so [N] complex, but they're always based on this beat or on the solita or on the buria.
_ _ Ok, well, that's it, see you later
_ [N] The Fandangos from Huelva, well, a series of 12 beats are needed to complete a measure. _ _ _ _ _
You see that in flamenco, the 12-beat rhythm is repeated because in the Solide, the Caña, the Alegrias, the Valeria, the Caracoles, well, they are repeated,
but what does differentiate one from the other is always the rhythm, the accents that it carries, on which [Ab] the music is based, and in this way, and also changing the chords or the tonality.
_ _ _ _ [Gm] Different [G] styles are created, right?
[Eb] Well, in this case, I have marked 4 groups of 3 [Gm] beats.
This is a group, 2, 3, and 4.
[Eb] _ They are what form a measure of the Fandango de Huelva. _
_ [F] _ _ So, the particularity it has is that [G] if we look at the rhythm or the falsetas, they are usually always accented in a way that makes them [Eb] very unique, right? _ _ _ _
Like any of the others.
[G] _ _ I'm going to use a falseta that I already uploaded [A] from Fandango de Huelva and a bit of rhythm and I'm going to mark it with the pen [Gm] and you'll see the similarity it has or
_ _ [Ab] how it's based on what I have written here on the board.
[Gm] Ok, I'm going to press play and now we'll tell you.
Come on, let's go.
[Eb] _ Ok, it would be [Bb] 1, 2, 1, 2, 1, 2, 1, 2, [Eb] 3.
Come on, let's go. _ _
_ [G] _ [E] We're finished.
_ [D] _ [E] Another one.
_ _ _ [B] _ _ [E] _ _ _
_ [D] _ _ _ _ [C] _ [B] _ _
_ _ _ _ _ [E] _ _ [E] _
_ _ _ _ _ [D] _ _ _
_ [B] _ _ _ [E] We're done.
Ah, we're done, excuse me.
[G] _ _ _ _ [N] Notice that the falseta and also the rhythm wheel that keeps repeating, well, it ends here on beat number 12.
Ok, therefore, I always say the same thing, uh, study what the rhythm is, internalize it.
_ _ _ _ _ Sometimes the best way, the best way to internalize it is to do that clapping game or even play on the guitar, on the guitar box and count. _ _
This makes us more familiar and internalize it, right?
_ I've told you sometimes, and I don't want to go on too long, that based on a beat I've been driving in the car and singing a melody that I liked, that I've created myself.
_ And all I've had to do is look for what I have in my head on the guitar.
_ But it's true that what I've thought of has always [Eb] come out after having internalized a beat.
_ _ _ This is what great guitarists do and they make those unique falsetas of theirs that are so [N] complex, but they're always based on this beat or on the solita or on the buria.
_ _ Ok, well, that's it, see you later