In this less we're going to we're going to
various aspects of Rumores de la caleta by
And this is a malaguena a, a, a piece in
the style of the dance form of malaguena.
And typical of Albanis it's,
it's an ABA form which basically means
there's a, a section.
And which is also typ, typical of Albanis
which will contrast, an,
an opening section, which will contrast
with a middle section.
It's basically a three part form A, B, A,
most of Albanese'
pieces are in this form, and that A
section if you will.
Contrasts pretty, dramatically with the
And then there's a, a recap, essentially,
of the, the A section.
So, in the A section there's a lot of
rhythmic playing and the, and
a lot of almost flamenco-sounding
flourishes and, and passages.
The, what I want to convey to you though
is this, the, the idea that there is, a
singer there as well.
There are moments, beginning at measures
26 and 24, and, that where.
There's much more of a vocal kind of sound
in the melody.
And I like to imagine that that's, that's
a, a, a Flamenco singer almost, or
a singer in a and in this piece with being
accompanied by guitar.
Other passages like measures one, measures
And 58 are really sort of the, the rest of
the group who, who may be accompanying the
singer and maybe even some dancers.
More of the rhythmic aspects of the, the,
the rhythmic stew that's behind the singer
that showcases that element of the A
section a little bit more.
So for example right in the beginning
there's a couple measures of intro.
Which is just a slow arpreggiation of a E
And then the action starts right away.
So all that activity there is really like,
you could think of it as your guitar
player, your dancers, and
everybody sort of.
Setting, setting a tone there.
Then, just after that, we, we, we hear the
of of what I like to think of as a, as a,
as a female singer.
And she starts right here.
I at this point.
At that point,
which I believe is measure 32, again
that's more of like,
the, the background musicians, or, or
dancers if you will.
Then we hear that same.
At measure 44, we hear that line again.
That very vocal line.
And it should be played with a singing
tone with lots of vibrato.
And then the piece closes with more of
rhythmic flourishes very reminiscent of
Flamenco music and Malaguenas.
The B section, which is meant to contrast
with the A.
Is really more of a tender moment and, and
more like a Spanish song sung quietly by
It opens with her kinda improvising over
So, you're just centering around E.
And then she settles into this key of C
So really it's, it's basically a very
simple Spanish song
with this kind of accompaniment underneath
And if you can, again, if you can really
separate a little bit those two elements
in your mind while you're studying the
score and really take note of which notes.
Are the I guess the guitarist accompanying
In this material and then.
Again, I'm, I'm kind of extracting, I'm
extracting that melody and
then playing it on whatever string I, I, I
Because I'm, I, I'm free from the,
the constraints of having to play the the
accompaniment along with it.
And I think this, again, this is a very
Thing to practice.
Just, you know, playing the singer's part
alone and just playing it wherever you
can, play it in three different with three
different fingerings if you like.
Because then, when you again insert that
vocal line into it,
it will help you really hear, hear it
better and help you better separate.
The difference between the notes that are
for the singer and the notes that are for
And I'll just give you a, a short example
Well that's pretty much the whole middle
But as you can hear, that's, its very very
Just a few, just three chords.
And and this beautiful melody over the
So, that's the basic layout of Rumores de
la caleta and
I hope you will keep those things in mind
when, when practicing and, and have fun.