Volume 1
" Tangos pa' la Pimpi "
These tangos , recorded in an unusual tuning includes a cante verse sung by the guitarist's daughter, with a complete transcription of the singing melody and the accompaniment. The mandola solos by Juan José Suárez "Paquete" have been transcribed for second guitar. The chord symbols have been included throughout the chart for those who want to learn to accompany this piece.
Soleá "Alquimia"
This soleá reveals an incredible mastery of the jondo (deep) forms by the artist. His playing here is a combination of Gypsy purity and a modern harmonic and melodic language.
Bulerías "Paseo de los Castaños"
The bulerías by Tomatito are incomparable. Played with otherworldly feel and sense of rhythm, this palo has become Tomatito's trade mark. Recorded in the traditional key of A Hijaz ( por medio) these bulerías o ffer an ideal study on various possibilities in rasgueados and remates for this difficult to master form. The accompaniment of the second guitar in the beginning and the end of this piece has been also transcribed.
Bolero "Aire de tango"
This bolero is a duo of Tomatito's guitar and a violin by Bernardo Parrilla. The violin part has been transcribed to the smallest detail and can be interpreted by a guitar or any instrument you may wish to chose. Tomatito's accompaniment is a lesson in a proper use of harmonic substitutions worthy of unforgettable Joe Pass.
Rumba "La vacilona"
This rumba, with a strong influence of Cuban son and Brazilian samba is a duel of powerful guitars by Benson and Tomatito. All the solos and accompaniment have been transcribed entirely. This piece can be interpreted by a single guitar or a duo.
Scores sample |
Text sample |
English and Spanish
A4 format, 246 pages
Reference: L-TOMATE 01
|
|
Volume 2
Taranta “Macael”
This beautiful and very emotional taranta is a perfect example of the evolution of Tomatito's harmonic and melodic language. Although full of modern chords and scales, this piece expresses the most ancestral sentiments with the flamenco purity so characteristic of Tomatito.
Bulerías “Dulce Manantial”
This piece, composed in the modern key of D# Hijaz, is tremendously difficult, both rhythmically and technically. As in every transcription done by the maestro Enrique Vargas, the parts of the second guitar, the mandola, as well as two voices of the cante have been transcribed in their entirety. Chord symbols are provided throughout the whole piece, which is accompanied by detailed explanations of the toque as well as extended analysis of the most difficult falsetas.
This piece can be interpreted as a solo as well as a duo.
Turkish song “ Bir Ömürlük Misafir”
In this piece, for the first time in the history of flamenco guitar transcriptions, the full orchestral chart is provided for those who have Sibelius or Finale software. They can either scan or enter manually the chart into their computers in order to be able to enjoy playing this piece with the full orchestra sound.
Bulerías “Ahí Te Quedas”.
The inclusion of this piece, or, to be more precise, live recording of a traditional juerga could strike you as somewhat odd on such a modern and sophisticated CD. Nevertheless, it has a profound meaning, an important message to all the flamenco aficionados. On this recording Tomatito, that super modern Tomatito, plays with the ancestral purity and discrete elegance worthy of a genius, as if he were saying: “modernity comes from the tradition. Purity in playing, from the juerga . Feeling, from accompanying the cante. The sense of compás, from playing a lot of rasgueados. ” With what sensibility the guitarist from Almería accompanies these letras fiesteras , short and simple, with the same structure of 3 - 4 lines, but at the same time so flavorful and full of soniquete! With simple chords, playing the remates in their appropriate places, with one and only one thumb-driven falseta, in the purest Jerez style... Olé, olé y olé....
Obviously, this transcription is destined to those who wish to learn to accompany the cante. To make the task easier, I transcribed the voice track in its entirety, which also makes it possible to play these bulerías with another musical instrument.
It should be kept in mind that notation has certain limits when transcribing cante which has lots of microtones that are impossible to write on paper.
To sum it up: this piece is a brilliant lesson in compás and rasgueados interpretation and cante accompaniment, where Tomatito uses infinite right hand finger combinations to strum the strings, each finger carrying its own sound and shading, creating a pure and intense swing.
The transcription of these bulerías is accompanied by the detailed explanations of the toque as well as extended analysis of the most difficult letras and techniques.
Scores sample |
Text sample |
English and Spanish
A4 format, 246 pages
Reference: L-TOMATE 02
|
