Introduction History The Farruca was created in Galicia, in Northern Spain and found its way to Andalucia. Originally the Farruca consisted of cante and baile which developed around the middle of the 19th century and was danced exclusively by men. There is a story that the dance was at one time used to determine who the King of the Gypsies would be. These days the Farruca is not sung and men as well as women dance this form. It is also used as a solo guitar piece. Structure Traditionally the Farruca is played in the key of A minor and is in 4/4 time. A phrase consists of eight beats of two measures. The 1st, 3rd, 5th and 7th counts are accented. It is said that at first the Farruca consisted of rasgueados to accompany the cante and baile. Playing the same rasgueado over and over is not very interesting so falsetas were added. By using a variety of rasgueados and cording patterns with falsetas more musical interest is provided. At first two or three compases were played and one falseta was used followed by two or three more compases. In more recent times several falsetas are played one after the other and then the compas is played and this pattern is repeated. Frequently the Farruca ends in a Tanguillo in A major or Rumba in A minor. Changes of key or rhythm are called “cambio” and are common in flamenco music. Handbook The purpose of this document is to provide information for flamenco guitarists interested in the Farruca. The compas is discussed as well as a number of cording paterns to make the music more interesting. This is followed by examples of introductions, falsetas and endings. Finally a Farruca is constructed from some of the parts presented. By following the structure and using your imagination you should be able to create your own cording patterns as well as a segment or an entire piece. Terms Used. Indice = Index = I Medio = Middle finger = M Anular = Ring finger = A Meñique = Little finger = m Pulgar = Thumb = P Parada = Stop strings G = Golpe
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Basic Compas The basic cording compas of the Farruca consists of two phrases of eight beats each.
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Basic Llamada The basic llamada of the Farruca consists of two phrases of eight beats each.
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Combining cording compas and llamada. One or more cording compas patterns may be played and are ended when a llamada is added. Example 1.
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Example 2. Here is an example using doublets with the pulgar for the up stroke. The indice, Medio, anualar and meñique, combinations or all four may be used for the down stroke. The indice can be used for up strokes.
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Cording Patterns. By changing the left hand fingering as well as the rasgueado patterns more interest is added to the Farruca. Besides these examples you should be able to create your own. Pattern 1.
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Pattern 2.
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Pattern 3.
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Pattern 4.
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Pattern 5.
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Pattern 6.
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Pattern 7.
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Pattern 8.
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Pattern 9.
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Pattern 10.
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Pattern 11.
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Pattern 12.
Parada
Parada
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Pattern 13. An example of the use of cord inversion to give a different “flavor” to the pattern.
Parada
Parada
Parada
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Pattern 14.
Parada
Parada
Parada
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Pattern 15.
Parada
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Pattern 16.
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Introductions. When played in the traditional key of A minor introductions to a Farruca normally begin in E 7. However, that is not always the case as the first example shows. You can combine elements of cording compas and llamadas anlong with falsetas to create your introduction. As a matter of interest I have included a falseta which may be played before an introduction to a Farruca. Your imagination can be used freely at this point. Patterns 10 and 12 can also be used as introductions to a Farruca. You can play them as written or add to them to suit yourself.
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Introduction 1.
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Introduction 1 cont.
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Introduction 2.
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Introduction 2 cont.
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Introduction 3. Based upon Pattern 10.
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Introduction 3 cont.
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Introduction 4. Based upon Pattern 12.
Parada
Parada
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Introduction 4 cont.
Parada
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Pre introduction.
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Pre Introduction cont.
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Falsetas. Falseta 1.
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Falseta 1 cont.
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Falseta 2.
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Falseta 2 cont.
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Falseta 3.
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Falseta 3 cont.
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Falseta 3 cont.
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Falseta 4.
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Falseta 4 cont.
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Falseta 5.
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Falseta 5 cont.
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Falseta 6.
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Falseta 6 cont.
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Falseta 7.
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Falseta 7 cont.
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Falseta 7 cont.
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Falseta 8.
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Falseta 8 cont.
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Falseta 9.
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Falseta 9 cont.
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Endings. Ending 1.
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Ending 1 cont.
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Ending 2.
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Ending 2 cont.
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Putting it all together. Now we will take some of the elements that have been presented and create a Farruca. If you wish you can look for other sources of information such as Juan Serrano’s “Systematic Studies for Flamemco Guitar” Mel Bay MB96871 (available with CD) for additional falsetas. Feel free to use such sources to create your own Farrucas. Simply replace any part of a piece with one that you like and enjoy playing. Additional sources and examples of Farruca may be found in the following publications: 1. El Arte Flamenco - Jack Buckingham - U.C. Berkeley - Spanish Music Center 2. Flamenco Guitar - Ivor Mairants - Latin American Publishing Company. 3. Escuela del Flamenco - Mariano Cordoba 4. Flamenco Guitar - Mariano Cordoba - Oak Publications 5. Traditional Flamenco Guitar Volume II - Mariano Cordoba 6. Flamenco Guitar Basic Techniques - Juan Serrano - Mel Bay MB93632BCD 7. Sabor Flamenco - Juan Serrano - Mel Bay MB95321 8. Flamenco Concert Selections Juan Serrano - Mel Bay MB93698CD 9. The Keys to Flamenco Guitar - Dennis Koster - PJN Publications 10. You Can Teach Yourself Flamenco Guitar - Luigi Marraccini - Mel Bay MB95358BCD 11. Toques Flamencos - Paco Peña - Musical New Services 12. El Arte Flamenco de la Guitarra Volume II - Juan Martin - United Music Publishers Ltd. 13. La Guitarra Flamenca Video II Lesson 5 - Juan Martin - Patrick Campbell & Cordhart Ltd 14. Manual Didactico de la Guittara Flamenca Volumes 3 & 4 - Manuel Granados - Ventilador 15. Flamenco Guitar 4 CD version - Chuck Keyser - http://members.aol.com/buleriaChk/private/ flamenco.html 16. Hechizo - Libro de Partituras - Oscar Herrero - RGB Arte Visual
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Conclusion. I hope you have learned something about the Farruca that you enjoyed and will explore this flamenco palo. It is fun to play the Farruca on guitar as a solo or to accompany a dancer.
