Would you shred??

[Frontera]

Refreshing to see many of the same mind as I. Aurelio and Gary have made most of the points I would make. Many months ago I made a post here called "Sacred Silence." I don't think many even understood what I was referring to. Sometimes the notes left unplayed are more effective than filling that time with notes played. Solea is a good example of a palo played too fast and busy these days in my opinion. Part of Diego's genius was his perfect timing in times of silence. Example end a Solea falseta on 10 and let 11 and 12 go by with silence and in perfect time and then start another falseta on 1 all in perfect compas. Perico del Lunar was also a master of emotion and effect without flash. I have recently been using solo cante and recording it while trying to accompany it. It isn't that easy if done improvisational. I recently wrote the following for my Moronese friends on facebook.

When I think of flamenco, I think of an old guy that looks like an escapee from the nursing home, wailing like he has serious prostate issues, an old overweight woman poorly dressed in everyday attire leaving her housework in the kitchen to join the singer in another room with some improvisational dance, and another old guy poorly shaved and unkempt hair, playing an old tangy buzzy guitar with a well worn golpeador. After an hour of Bulerias, followed with a Solea, the woman stops dancing and sits down to sing a Siguiriyas hoping to dampen the fiesta mood so she can finish her work. The old singer rises to take over the dancing but tires quickly and sits back down to finish his cigarette and wine. The two men start talking and the woman returns to her work. The two men decide to go down to the bar and get a little gusto and see if a fiesta is in the days plan. That's my idea of real flamenco.

[Payul]

I hear a lot of sacret silence in the playing of Paco Peña....
I do not think you mean exactly that in your post, but on the other hand I have the feeling it comes from the same well...

Payul