Asking Flamenco Pros

Q&A with Paco Pena

On behalf of Falseta.com and its members I would like to thank Paco Pena and UCLA Live for making this possible. If you are in the Southern California area don’t miss out on Paco Pena’s concert at UCLA!

Tickets are on sale now!!!
UCLA Live at Royce Hall, 340 Royce Drive, Westwood.
Wednesday, Oct. 8 at 8 p.m.
$28-$54. ($15 UCLA Students.)
Call (310) 825-2101
Visit http://www.uclalive.org/event.asp?Event_ID=680

If you are subscribed to our newsletter you know that I recently had an opportunity to ask your questions to Paco Pena. If you are not subscribed to our newsletter I strongly urge you to join us so you don’t miss out on great opportunities like this one.

I asked subscribers to our newsletter, if you had just one question you could ask Paco Pena, what would that question be?

So without further delay here are the responses to your questions from Paco Pena himself.

Question: What strings do you use on you Gerundino? – Peter van Dortmondt

Paco Pena: I’m happy to say that D’Addario strings work brilliantly on my guitar and I have been using them for many years.

Question: Senor Pena, pertenece usted a alguna de las familias de estirpe del Flamenco? O se crio usted en algun barrio donde el Flamenco fuera lo normal, o como fue que le nacio a usted el amor por el flamenco. Y quien fue la primera persona que le enseno los primeros toques? – Jenny Carol Wangensteen

Paco Pena: Me temo que no pertenezco a ninguna familia famosa del flamenco, pero sí tuve la suerte de que mi extensa familia eran todos aficionados, y mi hermano Antonio me enseñó los primeros acordes. Después de eso la vida me ha ido alumbrando en la riqueza de los toques flamencos y del flamenco en general.

Question: Have you ever felt like quitting and why? What kept you going? – Maria Marquez

Paco Pena: There are indeed difficult moments when you are responsible for a number of people and a number of shows. However, it’s a nice life..

Question: At what age did you start playing and what was your practice regime in hours per day? – Rob Amos

Paco Pena: I started when I was six and I liked it, so I practiced all I wanted and all I could.

Question: In the flamenco instrumental genre; which is your favorite piece/style and why? – Raul

Paco Pena: There are so many things one can say with the different styles that it is very difficult to choose. I think the Soleá is the most representative of the myriad emotions and avenues of expression in the flamenco world, so if I had to choose, that’s the one.

Question: What specific drills/practice would you recommend for flamenco guitarists to always keep working on? – Michael

Paco Pena: There are many exercises and scale systems available for practice. They all hold the potential for having benefit. Whatever you practice, practice slowly so that your head is doing the work, not just your hands.

Question: I would like to know who had the greatest influence on your music. Who did you admire the most or try to learn from more than any other. – Cindy Solis

Paco Pena: It was Niño Ricardo and Sabicas when I was growing up.

Question: In your opinion should a student learn Pueblo style flamenco forms first before moving on to the more modern styles and approaches? – Briggs

Paco Pena: Tradition is very wise and it has decanted many good qualities of the flamenco essence. Modern approaches offer equally good possibilities for extending your knowledge. Whatever you do, you have to keep in direct contact with tradition.

Question: Would you ever considered publishing any more books like “Toques Flamencos,” or sheet music for some of his original compositions, or even a method. – Robert Brajnikoff

Paco Pena: I designed a flamenco method many years ago, but for reasons of my every-day work, I still haven’t published it. But I’m hoping I will be able to bring it out soon.

Question: Do you believe that Flamenco falsetas will be some day be ‘improvised’ on top of a particular ‘toque’, such as bulerías, Solea, etc. Similar to what happens in a 12-bar blues or Jazz pattern? Do you improvise when you play? – Sergio Ruiz

Paco Pena: That already happens and it has always been part of the nature of flamenco performances. However flamenco improvisation doesn’t follow the same system as the improvisation in Jazz or blues, in my experience. If you are involved in blues or jazz playing and understand the systems, I see nothing wrong with you experimenting on the ideas you suggest. However, you must beware that both blues and flamenco are two very serious musical cultures and you have to give them due respect, whatever you do.

Tickets are on sale now. Reserve yours before they all sell out!!!
UCLA Live at Royce Hall, 340 Royce Drive, Westwood.
Wednesday, Oct. 8 at 8 p.m.
$28-$54. ($15 UCLA Students.)
Call (310) 825-2101
Visit http://www.uclalive.org/event.asp?Event_ID=680

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What is the future of Flamenco on the internet?

I emailed several Flamenco professionals and asked them “What is the future of Flamenco on the internet?” for a new series here on Falseta.com called “Asking Flamenco Pro’s”. Almost everyone responded which is great! If you have questions you would like us to ask for future posts send them in using the contact form or post them in the comments area below. Here are their answers:

Yvette “La Sole” (www.lasoleflamenco.com www.danzaypilates.com):

The Future of Flamenco on the internet is just starting out, there is so much more that can be done in regards to flamenco on the internet such as to promote, learn and even perform via the web.

With the help of sites like www.youtube.com you can watch flamenco (shows, classes, performances, short instructional clips, etc.)

Vendor sites allow you to browse merchandise and buy.

Personal Websites allow you to find a teacher be it (dance, cante, guitar), in your area or to an area where you may be traveling. The use of tools like flash and video imports all these teachers to post instructional videos, performances and more.

Blogs and posting sites are helpful when you have questions where others may be able to help you, and it’s also a good way to network with others who have the same interests as you.

You can use search engines like www.yahoo.com or www.google.com to look for shows, events, conventions, classes, workshops, performers, teachers, vendors etc.

Also useful is to know that you can look on the Spain version of these search engines (www.yahoo.es or www.google.es ) for more detailed information of local advertisment that may not be on the USA version.

Stephen Dick – Mojácar Flamenco (www.mojacarflamenco.com):

I think the biggest impact the Internet will have on flamenco in the future is in the way it brings the best of those flamenco artists totally unknown outside of Spain to the widest possible audience. It’s never hard to find recordings or videos of the best known artists, but now it’s possible for viewers and listeners from around the world to look into the most private moments of flamenco, the little shows we never hear of and the student shows of numerous flamenco schools across Spain and around the world.

Also, flamenco is losing its gatekeepers and no one knows where that will lead. Perhaps to a better understanding of flamenco as it lived, perhaps the creating of different international styles of flamenco. Every week I see flamenco as it is performed in Turkey or Japan and I see artists shrugging off the mantle of trying to be Spanish. For some, this is terrible thing. For me it’s like seeing opera outside of Italy or Germany. Not the same experience, but no less valuable an experience.

Yaelisa – Artistic Director – Caminos Flamencos – New World Flamenco Festival (www.caminosflamencos.com):

The internet has been an invaluable tool for communication between aficionados and teachers, artist to artist, student to teacher and has most obviously raised awareness among those who are curious about it and those who are passionate for the art form. As an educational and information tool, it has the potential to bring valuable insight about the art form to people in areas of the world where there is limited access to teachers, students or performances, an essential component of learning about flamenco. As a marketing tool, it has helped artists and presenters make money, which then propagates more flamenco.

Which brings me to my next point: the internet has its very real limitations. Flamenco is an art form that must be experienced live, preferably by participants with real expertise and knowledge… it has always been and will continue to be an essentially oral tradition handed down from generation to generation. Though pursuing the intellectual and information base side of flamenco has been brought to millions through the use of the internet, it continues to be an art of personal experience, live cultural context and hands-on application. The internet will never be a true substitute for the live experience.

Adam del Monte (www.newlearningvision.com):

I believe we live in exciting times with the internet being an amazing source for knowledge and information, and it’s only the beginning.

Flamenco learning online is no different. I think it’s a great tool for transmitting this great art in a very direct and immediate way to any one around the world.

I still think that the medium is only as effective as the content that it carries and it’s never going to be just a means to an end. The actual means to an end is, and always will be, the quality and philosophy of teaching that takes place, and only then can the delivery system of online teaching continue to be a great vehicle.
But, ultimately, to do any thing properly all the way – 100% you eventually have to go to Spain and eat the food, drink the wine, hear the language, breath the air of Andalucía etc. in order to really get it. At least the internet, with the right kind of teaching, can give you the right tools to prepare you for the ultimate plunge, if that’s what you want.

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