Rafael Riqueni “Alcazar de Cristal” Saving pack | Pack Ahorro “Alcazar de Cristal” – Rafael Riqueni Flamenco Live

Saving Pack “Alcazar de Cristal” – Rafael Riqueni

The three books of the CD “Alcázar de cristal” are a new addition to Enrique Vargas ‘s “The Great Flamenco Guitarists of Today Library” collection. “Alcázar de cristal” , the latest work by Rafael Riqueni , is extremely interesting for a variety of reasons:

– First, there is the wide palette of influences found in the work, from baroque to Spanish musical nationalism, and from jazz to nineteenth-century romanticism-all of which Rafael implements within an unmistakably flamenco musical idiom.

– Second, there is the complexity of the arrangements, which sometimes include three guitars, a string section, piano, etc. ..

Since there is practically no flamenco literature for more than one guitar, great effort has been made to include these arrangements in the transcriptions, which can be used in both professional settings and for didactic purposes. All the parts where there are more than one guitar have been transcribed in their entirety, making these scores ideal for duets or trios. This opens up some very interesting possibilities for professional flamenco groups or for students who prefer to play with another guitarist. For example, musicians who work in dance companies or who accompany singers can use various falsetas from this album that are arranged for more than one guitar. Flamenco guitar students can also interpret these pieces to learn to play with other musicians.

T his work includes a series of pieces that don’t come from the world of pure flamenco, and therefore don’t demand a deep knowledge of flamenco forms and techniques, which makes them accessible to guitarists of other styles-classical, jazz, Brazilian, etc.-interested in the flamenco guitar, making these pieces a sort of link between the flamenco guitar and other genres.

Each transcription includes the following:

1. A history of the form

2. Scales, chords, and flamenco tonalities

3. Compás , palmas and foot-tapping patterns, which, though indispensable for understanding flamenco rhythms, are rarely analyzed in publications about flamenco.

4. Analysis of the most difficult falseta s with explanations and suggestions on their technical execution.

5. A list of basic rasgueados

6. A glossary of flamenco terminology

7. The symbols used in flamenco writing

Since altogether this work is over 600 pages long, it is presented in three books in order to make it possible to use.

This is the habitual format for transcriptions in ” The Great Flamenco Guitarists of Today Library” series : – “Algo que decir” by “el Viejín”, – “Alcazar de Cristal” by Rafael Riqueni,, since contemporary flamenco pieces are much longer than they used to be in the past and often include more than one guitar. Enrique Vargas transcribes all the additional guitars, which obviously makes the musical text much longer. In addition, the commentaries, suggestions, and analysis sections make each book a mini-manual of flamenco in general, and the style of each artist in particular. In this bilingual English/Spanish edition, the sheet music is presented in staff and tablature formats with complete fingerings for both hands

Volume 1

• The tangos “Vivencias”, recorded for three guitars but adaptable for a solo or duet. In the “Commentary and suggestions” section the key of F#Hijaz ( por taranta) is explained, along with the characteristics of modern tangos and the pattern for ” tangos arrumbaos .” The accompaniment to the cante , which is arranged for two guitars, is transcribed in its entirety.

• The soleá “Calle Fabié”. This very long soleá , which lasts more than nine minutes, is a masterly review of the art of composing in this palo , which is undoubtedly Rafael Riqueni’s strongest. The last part of this piece goes to the lighter rhythm of the soleá por bulerías and includes a second guitar track, transcribed in its entirety. There is also a string section chorus, arranged by Enrique Vargas for a third guitar, with harmonic passages and polyphonic movements that enrich the original melody.

• The taranta “Alcázar de crystal” is a gorgeous guitar solo, a true gem in the repertory of any guitarist.

Volume 2

• The rumba “Piel de toro”. This guitar duet is a master class in playing por rumba , both for the lead and accompanying guitarists. The commentary offers extensive explanations on playing por rumba and various ways of executing the rhythmic pattern of this palo , which is very difficult to play with an authentic feel.

• The alegrías “Tacita de plata”. This piece, a work of true beauty, amazes the listener with its musicality, reminiscent of the style of the great maestro Sabicas.

• The love song “Esta noche”. This piece doesn’t come from the flamenco environment, and therefore can be of special interest to musicians of other genres. It’s made up of three parts: a flute and guitar intro, in which the flute part can be played by a second guitarist; a free-rhythm part two, in which the second guitar can arpeggiate ad-lib the chords written with chord symbols above the first guitar part; and a part three, in which the second guitar enters, and is transcribed in its entirety.

• ” Reflexión”. This extremely short piece, which is just over a minute long, is a work of impressive emotional intensity reminiscent of the most beautiful passages of Turina or Debussy. It can be of interest both to classical and flamenco guitarists.

Volume 3

• “Puente, río, Macarena, Triana”, an impressively eclectic sevillanas whose style, both in the orchestral arrangement and in the arrangement of the two guitars, calls to mind the style of the great Spanish composer Manuel de Falla. It includes a jazz-like improvisational part in which the piano accompaniment has been transcribed for the second guitar.

This piece is a magnificent duet for two flamenco guitars. The “Commentaries” chapter provides an explanation of the structure of sevillanas . The “Analysis” section explains the improvised part, and suggests some scales that can be used during the improvisation. The concept of swing is also explained.

• ” Benamargosa”. This fantasy is a magnificent mixture of Spanish impressionism and flamenco. The flamenco part is written to the compás por siguiriya and is explained in the “Analysis” chapter, along with a discussion of the rhythm of this palo and the way to write it according to Stravinsky’s system. Enrique Vargas was the first person to write the siguiriya according to this more logical and concise system. The “Commentary and suggestions” chapter provides an explanation of the rondeña tuning used in this piece, along with chords and scales that help to better understand it.

• “Rebelde,” bulerías . This piece is a brilliant solo for flamenco guitar. The “Commentary and suggestions” section provides an extensive study of the evolution of the bulerías rhythm through the twentieth century, various rhythmic patterns for this palo , ways of writing it, and foot-tapping and palmas .

Delivery times: 15 days

Pack Ahorro “Alcazar de Cristal” – Rafael Riqueni

Estos tres libros del CD “Alcázar de cristal” son una nueva entr ega de Enrique Vargas dentro de su colección “Grandes Guitarras Flamencas de Hoy”. Alcázar de crista el último trabajo hasta la fecha de Rafael Riqueni, se trata de una obra interesantísima en muchos aspectos.

Primero por su sofisticado concepto, muy influido por una amplia paleta de estilos -desde el barroco hasta el impresionismo y nacionalismo musical español, y desde el jazz al romanticismo del XIX- que Rafael consigue utilizar dentro de un lenguaje inequívocamente flamenco.

Segundo, por la complejidad de sus arreglos que a veces incluyen hasta tres guitarras, grupo de cuerdas, piano, etc. .

Dado que en el flamenco prácticamente no existe literatura para más de una guitarra, se ha hecho un extraordinario esfuerzo en la transcripción de esta obra para ofrecer a los aficionados estos arreglos, que pueden ser utilizados tanto en la actividad profesional como en el aprendizaje. Todas las partes donde hay más de una guitarra han sido transcritas íntegramente, lo que hace estas partituras idóneas para duetos o tríos, ofreciendo posibilidades muy interesantes para los conjuntos profesionales de flamenco o aquellos aficionados que prefieren tocar con otro guitarrista. Por ejemplo, los músicos que trabajan en las compañías de baile o acompañan a un cantaor pueden usar varias falsetas de este disco arregladas para más de una guitarra. De la misma manera, los estudiantes de la guitarra flamenca pueden interpretar estas piezas para aprender a tocar con otros músicos.

En esta obra se ofrecen una serie de piezas que no proceden de un entorno de flamenco puro y por lo tanto no exigen el conocimiento profundo de los palos y técnicas flamencas, lo que las hace asequibles a los músicos de otros estilos guitarrísticos interesados en acercarse a la guitarra flamenca: clásico, jazz, música brasileña, etc. Por ello, estas piezas son una especie de vínculo entre la guitarra flamenca y otros géneros.

Cada una de las transcripciones incluye:

1. Historia del palo

2. Escalas, acordes y tonalidades flamencas

3. Compás, palmas y marcaje de pie, lo que es imprescindible para entender los ritmos flamencos y, sin embargo, pocas veces aparece en publicaciones sobre el flamenco.

4. Análisis de las falsetas más difíciles con explicaciones y consejos sobre su ejecución técnica.

5 . Lista de rasgueados genéricos.

6 . Glosario de la terminología flamenca.

7 . Los símbolos utilizados en la escritura flamenca.

Dado que el conjunto de esta obra ocupa casi seiscientas páginas ésta se presenta en tres libros para facilitar el acceso y manejo de los textos. Este es el formato habitual de las transcripciones que se ofrecen en la colección “biblioteca grandes guitarras flamencas de hoy” : – “Algo que decir” del Viejín, – “Alcazar de Cristal” de Riqueni, ya que las piezas del flamenco contemporáneo son mucho más largas que antaño y, a menudo, incluyen más de una guitarra. Enrique Vargas transcribe íntegramente todas las guitarras adicionales lo que, obviamente, hace el texto musical mucho más extenso. Además, gracias a los comentarios, consejos y análisis, cada libro se convierte en un mini-manual del flamenco en general y del estilo personal de cada artista en particular.

En edición bilingüe inglés/ castellano, la partitura se presenta en notación y tablatura con las digitaciones completas de ambas manos.

Plazo de entrega: 10/15 días.