56 Litado jpulting of (a) Starting position (b) 3d finger has ‘pulled oft” to sound the E (c) 2nd finger has ‘pulled of to sound D of with both’ 2nd and 3rd Fingers stopping 4th Stopped by 2nd finger open 4th sta. The solo The following Seguiriyas consists of a typical introductory passage of rasgueo which progresses on to four traditional falsetas linked by brief passages of rhythm. A commonly recurring phrase, frequently used to punctuate falsetas (or the cante) or to act asa ‘fill-in’ which maintains the rhythm, is the following compas. Es Fingers 3 and 4 stay down from the HE count of 3 to the count of 4, when the fingers move to the position of the A chord. Note that the Con the Sth string at the third fret is stopped by the 2nd finger. Sometimes an A at the second fret on the 3rd string is played in place of the E on the open Ist string 12 © Sanda 4and a The right thumb plays a particularly important part in Seguiriyas. Except for the rasqueos, the right hand is in the ‘thumb’ position throughout Note particularly near the end of Fa/seta 2 how the thumb strikes down across two strings (4 and 3, then 5 and 4) together to sound the same note on each (first G then D). In Falseta 3 there is a characteristic type of arpegio played on three strings at a time with just thumb and index The first two notes of each group of four are played in a single followed-through movement with the thumb, striking the lower then the higher string in perfect rhythm. ‘aaa GASSETTEREPEAT:SEBUIRIAS | “CGUIRIYAS Cefilla at 2nd fretFALSETA2Elements of Flamenco5 Duende Duende, literally meaning goblin or elf, is the spirit which inspires those extraordinary, perhaps fleeting, moments in Flamenco (as in other arts like the corrida, or bull-fighting) when the performer achieves a total communion with his audience. Only the truest artistry and aficion, free of any taint of egoism or showmanship, can create the Peaility ofits occurring It is an experience of bare truth, when one is somehow transported to the very depth of SRInES, {© emotion at its most naked and most poignant, so that one can only feel ‘that is how it realy ki An audience of aficionados will recognise the experience of duende when it comes but it is quickly and unobtrusively passed by. The shiver of recognition is acknowledged, if at all, by perhaps a quiet, almost incredulous murmur ef 1 before the music sweeps on beyond this brief moment when something touched the soul. It la rae thing, nardly to be talked about.