JeffenMaxx | Flamenco & Latin Music for Two Guitars

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Latin: Flamenco World: South American Moods: Type: Instrumental
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Flamenco & Latin Music for Two Guitars

by JeffenMaxx

Original music in traditional flamenco and Latin styles for two guitars.
Genre: Latin: Flamenco
Release Date: 

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  Song Share Time Download
1. Soleá Por Bulerías
3:26 $0.99
2. Evito
3:23 $0.99
3. Jujuy
4:22 $0.99
4. La Novia Bonita
3:42 $0.99
5. Andinito
3:05 $0.99
6. Serenata Española
3:24 $0.99
7. Michoacan
3:00 $0.99
8. Farruca
4:35 $0.99
9. Peteneras
4:39 $0.99
10. Tangos
3:51 $0.99
11. Brisas
4:32 $0.99
12. Weezita
3:38 $0.99
13. Amor Perdido
5:01 $0.99
14. Milonga
3:49 $0.99
15. Rumba in a Minor
4:04 $0.99
16. Verdes Anos
3:10 $0.99
Downloads are available as MP3-320 files.


Album Notes
Life is a brief and profound mystery.

JeffenMaxx finds illuminating reflections of this overwhelming riddle in music remote from the attention of most North Americans.

Each musical style offers a different angle on the passion, sorrow, and joy of being human. Whenever I become enamored of a genre, I do my best to learn its rules and essence, and then try my hand at composing from within it. It gives enormous satisfaction to incorporate the emotional power of a style to which you are strongly attracted into your own being.

Flamenco is a unique sonic blend of Indian, North African, Middle Eastern, and European musical elements.

It has ancient roots, and can be thought of as a philosophy of passion, a metrical analysis of feeling, and a lyrical outburst from the depths of human experience.

Soleá por Bulerías is 12-beat flamenco, with accents on 3, 6, 8, 10, and 12. After a brief intro in A major it moves to the descending chords of D minor, C, and Bb - finally settling on the A, which acts as an underlying drone to which it always returns - and which gives an easily perceivable emotional foundation to the chord changes. The alteration of the semitone between A and Bb is the essence of the Spanish style, an echo of the Moorish occupation of Spain, which in turn harkens back to the earliest civilizations of ancient Sumeria, Egypt, and India.

Flamenco guitar techniques include a variety of rasqueados (strums), picado (finger-picked scale fragments), arpeggios, and golpes (taps), which are frustratingly elusive for the non-Andalusian to learn to play up to speed - especially in the flawless manner of Spanish masters such as my teacher Juan Serrano.

La Novia Bonita ("the beautiful girlfriend" - dedicated to my partner Roxie) has a bulerías feel as well.

The Peteneras is another 12-beat pattern, with a tragic sadness. This version is based on the great arrangement by Manuel Cano and Serranito

Farruca and Tangos (no relation to the Argentine version) are in the more familiar 4/4, though differently accented than the blues that underlies most Western pop and rock.

The rumba flamenca - also in 4/4 - has Afro-Cuban roots, and chooses to accent only the beats of 1, 4, and 7 out of 8 possible eighth notes. It's easier to understand it as 123-123-12, stressing the first beat of each group. Through the successful popularization of this form by the Gipsy Kings and others, the rumba IS flamenco to those who haven't cared to delve deeper into this fascinatingly complex yet emotionally straightforward music.

The Latin folk styles we favor have evolved considerably from their distant Spanish roots, although one can switch from an Argentine chacarera to a flamenco bulerías, a Mexican huapango to a fandango, or a Bolivian takirari to a rumba without missing a beat, in spite of different accents.

But nothing in flamenco sounds like the horseback riding feel of the Argentine zamba (spelled with a "z", but pronounced the same as the more familiar samba from Brazil) in Jujuy, the catchy takirari (Evito, Weezita), or the Andean chord sequences of Andinito.

The European waltz has been Latinized into a variety of 3-beat forms. Examples are the uptempo vals venezolano Brisas, the slow, melancholy tenderness of Paracho or Amor Perdido ("lost love"), and the fandango-like strumming underlying the picado and glissandi of Serenata Española (inspired by Francisco Tárrega's great guitar transcription of a piano piece of the same name by Catalan composer Joachin Malats).

The milonga is in the style of Argentine folk guitarists like Atahualpa Yupanqui or Eduardo Falú, which is popular in the Pampas and Western Argentina, very different in mood from the milongas played by porteño tango bands in Buenos Aires.

Verdes Anos (by Portuguese guitarist Carlos Paredes) is a gorgeous piece with which Max and I end each concert or practice session.

Our music is based on friendship and a shared sensibility.

We worked many hours to bring it to you, and we hope you enjoy it.

Jeffrey Briggs



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