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In flamenco vocabulary, the term compás designates both a metrical-rhythmic cycle and a melodic mode associated with traditional harmonies. Flamenco guitarists use particular chord positions (posturas) for each mode, which determine the musical identity of each palo (form) as much as the strict rhythmic framework. To work on the compasses, it is therefore also essential to study flamenco voicings. Apprentice tocaores (flamenco guitarists), rightly fascinated by the richness of the compositions (falsetas) bequeathed to us for more than a century by the great masters of the genre, too often forget that their first duty is to internalize the compasses, in a broad sense, until they become second nature. The aim of this book is to help you master the compasses, and to “play” with them, in a natural way, until you no longer have to “count the beats”. We will therefore learn to “hacer compás” (to produce compás), not only in rasgueados, but also by varying rhythmically and harmonically the codified motifs which articulate the solos as well as the dialogues between singers, dancers and guitarists (introductions, paseos, llamadas and remates). It is these five groups of sequences that we will study in this book, applied to an emblematic palo, the soleá. The CD attached to the method offers all the musical examples in mp3 format, to facilitate understanding and therefore also assimilation.