‘In toque libre’ means ‘very freely.’ You will discover this notation in parts of the Granadinas solo. This means that you have freedom from a strictly regular beat in the song’s rhythm. You can, therefore, interpret the music with the timing and phrasing that you favor. Only one example of the several kinds of interpretive freedom you have as you play, this notation in the Granadinas bears a closer look. In this lesson, we will take a look at the varied kinds of improvisational options you have when performing on your Flamenco guitar.
Flamenco music designed for the guitar is truly made to be improvised. The guitarist does not have to play a predetermined routine to a written score. The guitarist may play what he likes, but within boundaries. Those boundaries constitute a process of choice, as opposed to innovation on the fly. The guitarist may choose from a variety of falsetas, rasgueos, and other linking passages from his or her pre-existing (and well-practiced) repertoire.
When you become an experienced performer, you will know many versions of the falsetas and rasgueos that you will play. You will be able to weave these diverse elements together to suit both the aire of the toque, as well as the mood of the moment. When that happens, you will rarely repeat an identical performance. You may rehearse meticulously, but the moment may sweep you away into an improvised solo. Especially true in informal settings, you may want to mix up the sequence and selection of well-known items from your repertoire. You must, however, remain true to the compas of the toque you perform, especially if you are serving as an accompanist.
Guitarists differ in their creativeness, as well as in the range and flexibility of their toque. A more inexperienced guitarist may gather material for his repertoire by imitating music from other musicians, adapting it for his needs. As he grows as a musician, he might add variations which he has invented, particularly if he has a knack for composition. Eventually, the guitarist might have the bulk of his repertoire from material which he has crafted, for the most part, by himself.
Creating new music for the guitar is not something which usually takes place while the guitarist is actually performing before an audience. Occasionally, the guitarist may be moved to inspiration by a singer’s exceptional performance, or perhaps just from the energy on a festive occasion such as a juerga (Flamenco celebration). These moments of intuition are, unfortunately, rare while performing in public. A guitarist, therefore, needs to explore new ideas while he is alone with his instrument. The crucible of practice may well produce the fire of inspiration.
To get to this point, you must have a thorough understanding of basic guitar techniques, as well as having a repertoire of well-rehearsed material. Only then can you begin to improvise your own solos. You do not need to have an extensive repertoire, rather, you need to have an authentic feeling for the aire of those that you do know, in order to arrange them with a true feel for Flamenco music. A random collection, thoughtlessly thrown together, will not make a worthwhile solo. These pieces must have a logic about them that leads one to another in an emotionally and musically meaningful sequence. Music is, after all, communication, and must have adequate form and development to convey meaning.
Obviously, it is not an easy task to devise rules about how to improvise. One can state, however, that overuse of the tremolo will drain any toque of its Flamenco character, making it banal, far removed from the essential inspiration of the Cante and Baile. There is, on the other hand, no hard-and-fast rule that tells a guitarist how much rhythmic rasgueo to include in a solo performance.
Some guitarists interweave their falsetas with a large amount of rasgueo. This generates a driving pulse, a dramatic flair that stays close to the essence of Flamenco singing and dancing. Other soloists, however, include little of this variation. The choice lies with you, the guitarist. At this point in the learning process, it would be fruitless to instruct you how to create new falsetas and rasgueos which will have lasting appeal to their hearers. If you long to create new compositions, start by developing a long familiarity and deep understanding of the music. Soak up as much information as you can, listening to the music, watching it being performed, and talking to more experienced musicians. Read all you can, or listen to audio books on the subject. Know the fingerboard well, your right hand as well exploring all of the ways to strike the strings in various ways. Hone your technical abilities, but more importantly, look to the inspiration of the Cante. If you pursue your dreams with these goals in mind, you, too, may someday create music for the Flamenco guitar.
