Sigrys
Sigrys
Sigrys
Charles H. Keyser, Jr. 1976 The Academy of Flamenco Guitar P.O. Box 1292 Santa Barbara, CA 93102
Siguiriyas Falsetas
Siguiriyas Falseta 1 (Source: Traditional):
Siguiriyas 01
This is a series of filler falsetas that can be used between letras (sung verses) of the cante, or for the accompaniment of the taconeo sections of the dance. Note the use of alza pua (up/down thumb strokes) on the Bb chord, and the emphasis on thumb/index finger combinations in the last part of the falseta.
Siguiriyas 01
Siguiriyas 01
Siguiriyas Falseta 2 (Source: Juan Moreno): This falseta suggests a call to the singer for entrance to the cante.
Siguiriyas 02
Siguiriyas 03
Melchor de Marchena uses the pentatonic scale in this falseta; it is one of his propio sellos (trademarks).
Siguiriyas 04
This falseta is from Nio Ricardo, although I first heard it on a recording by Juan El Africano It makes use of the relative harmonic minor to A Phygian (D minor).
Siguiriyas 05
Heres a Siguiriyas falseta typical of Diegos juerga approach.
Siguiriyas Falseta 6 (Source: Diego del Gastor) Heres another falseta of Diegos, again strongly suited to the juerga.
Siguiriyas 06
Siguiriyas Falseta 7 (Source: Diego del Gastor) This is actually two falsetas, again in a juerga style. Note the interesting chromatic sequence in the 2nd part. Siguiriyas 07
Siguiriyas 08
This is a famous falseta of Nio Ricardos, using large interval jumps in the melody (as far as the physical layout of the guitar is concerned), and some interesting compas phrasing.
Siguiriyas 09
Another falseta of Nio Ricardos which is in every guitarists repertoire at some time or the other. Note the interesting use of the relative minor (Dm and Gm chords).
Siguiriyas 10
This falseta is a favorite of dancers, especially the octave sequence (Nino Ricardo makes excellent use of octaves as a melodic device).
Siguiriyas 11
I think this falseta is one of the most beautiful in all flamenco, and is example of divine inspiration from Nino Ricardo. Note the use of octaves and the fascinating chord in measures 13 and 14 (often used in TarantoTarantas when transposed to open position for use in F# Phrygian mode.)
Siguiriyas 11
Siguiriyas 12
For me, this falseta is almost the equal of the previous one, and is a good example of Serranitos expressive approach to the toque jondo.
Siguiriyas 13
This falseta suggests a call to the singer, or can be used as a dramatic opening for a solo in the concert style.
Siguiriyas 14
Here is a typical Sabicas falseta in the concert style. Note his use of open string chords in the 6 position.
Siguiriyas 15
Here is a melodic falseta, using a slide effect in measure 2 and octaves in measure 6.
Siguiriyas Falseta 16 (Source: Sabicas) Here is another dramatic call falseta, one of Sabicas best.
Siguiriyas 16
Siguiriyas 17
This falseta is not phased in the customary alternating measures of 3/4,6/8, but is straight 6/8 (until the final measures), and is an example of a guitarist purposely abandoning the rules of rigid compas for an artistic effect. However, it is the musical genius of Paco de Lucia that makes it possible to be effective within the Siguiriyas form.
Siguiriyas 18
Another falseta of Paco de Lucias, showing his interest in counter-rhythmic musical figures (note the 1st and 2nd measures.)