So, maybe we will pause it there.
We going to hear, don't, don't despair.
We're going to hear entire piece Little bit later on.
So, that I will be surprised if there is anybody out there.
And recently I asked a Yale class, many, many tens of students in it.
How many of you [NOISE] didn't like this particular business, particular sound?
And, not one person in the room raised his or her hand.
And the, and I, I think we all love it.
Then, the question becomes, well, why?
Why do we love it?
And, thinking about this just a,
a little bit, a couple of things immediately come to mind.
First of all, look at look,
it's not like we went to central casting here to get Sullivan, right?
>> I appreciate that.
>> Right? Right, rather than spanish the,
the dark spanish tradition of Manet.
So, and the instrument, it's, it, not only.
[CROSSTALK] Very classy guy.
>> Jose Ramirez.
>> From 70, built in Madrid.
>> Yes, indeed, and I've been playing this instrument since I was a little child.
It's a wonderful instrument, the older, this is sort of, of, of that time period-.
>> Mm-hm. >> That was really classic for the shop.
And and you can actually, I wonder if they can see in there,
the Jose Ramirez stamp and the 1970 date.
>> Wow. >> And actually,
inside it was stamped by the particular man who built this guitar-.
>> Mm-hm. >> From, from scratch.
>> Yeah.
>> One luthier con, completed this whole process.
>> So, it's pa, I mean, the instrument itself is.
Is actually physically from, from Spain.
And there, we, we've got some wonderful melodic lines here.
I particularly love that descending melodic sequence.
We've got some harm, strong harmonic pulls from time to time.
[MUSIC]
That sort of sequence in there as well.
And then we have a few other things.
The most important, I suppose,
the thing we're picking up that makes it sound exotic, is that tremolo business.
Which is very specific to the Spanish tradition, and
comes out as I understand it, the Flamingo tradition.
So, how do you do that, can you demonstrate what's going on here?
>> Absolutely.
So, what, what the idea, first of all, the guitar has two hands, obviously,
that's playing it.
The right hand is in control of all of these
all of these textural >> Mm-hm.
>> Techniques.
So, this particular one, flamenco, involves the thumb or
P [SOUND] hitting these bass notes.
>> Mm-hm.
[MUSIC]
>> Cool.
>> While the upper fingers ring, middle and
index AMI do the repeated pattern on the higher note.
So, you get this alternation of the bass plucking and
then the higher fingers doing the A repeated so you end up.
I'll do it slowly so that >> But you're playing another, and
it's not just the A, it's the, there's an E below it?
>> Oh, when I said A I, excuse me, the A is the is the name for the ring
finger in the classical repertoire, so >> Oh, okay
>> I have ring,
middle index, >> Ring middle index.
>> Huh. [MUSIC]
And, that repeated pattern obviously has something you are going to have to start
slow clean.
And then eventually, you build up the.
>> [LAUGH] So, you must have to practice this very slowly.
>> A couple hours.
>> Do you every get carpal tunnel syndrome?
>> Well, you try to relax and then, take some breaks, some stretching.
But, it's, it's very important, posture and as you know, to, to, to maintain the.
The, the tension from the back and,
and the scapula must be sort of pulling on the instrument.
>> Uh-huh. >> But also, relaxed.
Shoulders down, back straight.
>> Oh.
And, it's always good to work out a little bit around the edges.
>> Really? [LAUGH] Hey, that applies for
all professions.
>> Indeed it does.
>> So I think what we'd like to do now is perhaps go ahead and
hear this entire piece.
The piece itself is rather straightforward in terms of its structure.
We have a lovely triple meter.
It's kind of slow grace.
So, I think it adds to, to the relaxed quality of it-.
>> Just rhyme.
>> Two, three, one, two, three, one, two, oh who doesn't like that.
There's, triple meter is always more relaxing than duple meter.
So, we ha, have that and we have a pleasing here, as well.
We've got the exotic quality of the Flamenco tremolo sound in there,
but at the same time, we have a rather regular pattern
of a minor statement of a thematic idea, a slightly different major statement.
And, back to the minor, then back again to the major.
And what else do have?
Well, it's all organized in bars of 16, units of 16 bar aggregates.
So, that's rather traditional.
We've been dealing with that in classical music from the beginning of our course.
And then finally, we should say just a word about what's going on in the Coda,
because that's kind of cool.
Is this piece fundamentally in major or is it in minor?
>> Mm. >> And in that coda, he's tweaking that,
that, that cool third.
[MUSIC]
[SOUND] So, there's the [INAUDIBLE], the sixth to the, back down to the fifth.
[SOUND]
[MUSIC]
And then, we get.
And then, we get at one point the minor third coming at maybe.
Ba di di di di.
Ba di da.
Is it going to be major or is going to be minor?
[MUSIC]
So, we'll see, we'll see what key this ends up in.
Is it major or minor?
Okay?
Solomon Silver playing Remembrances of the Alhambra.
[MUSIC]