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What is the cañorroto style?
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guitarristamadrid
Posts: 133
Joined: Jan. 27 2010
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 What is the cañorroto style?
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Who plays it: almost anyone whose name ends with Jimenez, David Cerreduela, Jeronimo (more or less)
I've lived here for years, I've seen these guys play many, many times, and....
....this is my experience of the musical characteristics:
-Almost entirely Bulerias, Tangos, Rondeña... other palos are rarer and rarer to find, although the players probably know them
-Emphasis on rhythm... gone are the rubato days, you could put this **** to a drum machine
-Almost complete lack of musical development or variation.... ideas come in, are played twice, play compas, and a new idea appears... instead of a movie, think a bunch of commercials... you could rearrange the falsetas in any order and it would sound about the same
-Super jazzy chords are our friends.... where we used to go G F E, now we will go Gaddjb7(#2) FdimX9039 etc.... but the tones themselves are not changing, we're just piling on as many ornaments as possible. This leads to extremely chaotic and arbitrary voice lines, because the emphasis is not on the voices themselves, but the chord as a whole
-Fast picado is important, it is usually used in bursts
-Technique that is a close replication of Paco
-The music is almost designed as a vehicle to show off rhythmic tricks... as various beats are assumed to be "heard" by the listener whether they are played or not, the rhythm becomes increasingly esoteric. Full of rhythmic "in jokes"
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Sometimes music is all you got in this world. Why do I create music? Because there was a time when I had nothing, and music kept me alive.
www.myspace.com/evancary
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REPORT THIS POST AS INAPPROPRIATE |
Date Apr. 10 2010 6:47:12
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guitarristamadrid
Posts: 133
Joined: Jan. 27 2010
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RE: What is the cañorroto style? (in reply to yohan)
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Sup all, yeah I think a good place to start would be to show you the cañorroto way of marking compas for different palos, it may be different than what you are used to
I am probably going to be busy the rest of the day, but maybe tomorrow or as soon as I have some time I'll be happy to make some videos showing stuff.
I have so much of this stuff in my head, that the more specific requests you can make, the better.
For picado exercises for example, I literally have a six hour set of picado exercises that I do when I want to get my picado up to a sick level, so it would take forever to notate every specific part, BUT
if you want some specific stuff, like "How do I get my single-string-note-repetition speed up?" or "How can I get rasgeo X tighter for bulerias" I can show you that pretty easily
When it comes to stuff like "Show me some of Ramon Jimenez's falsetas por bulerias" ethically I don't really know if I should do that, I personally feel uncomfortable with the idea of teaching note for note **** of some contemporary player other than someone super famous like Paco
But anyway, in my opinion, that's actually not where you should be at all... focus on the basics, compas, rasgeos, marcaje, remates, cierres, and of course many technique exercises to get your **** fluid... and then you will have a strong base, and you will be free to start creating your own falsetas,
... Which is what Entri would tell you to do anyway. I've never heard anyone suggest that you should spend all your time memorizing **** other players play, it's just supposed to be an introductory step to communicate the basic ideas to you, until you have them in your head and you can create your own art.
_____________________________
Sometimes music is all you got in this world. Why do I create music? Because there was a time when I had nothing, and music kept me alive.
www.myspace.com/evancary
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REPORT THIS POST AS INAPPROPRIATE |
Date Apr. 10 2010 9:27:47
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Ricardo
Posts: 14845
Joined: Dec. 14 2004
From: Washington DC
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RE: What is the cañorroto style? (in reply to guitarristamadrid)
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I heard this term for years and did not know what it meant musically, I was thinking more about the neighbor hood....the way Jerez has a lot of guitarists that have a similar style and sound, Barrio Santiago specifically for singing, or Moron guitarists, Cadiz singers etc etc.
But musically, I feel it is a mix of about 50% paco (harmony ideas), 20% tomatito (compas ideas), 10% Gerardo (tuning ideas mainly and some technique), 10% Vicente (slickness, suave dynamics), and the last 10% touches of good ol jerez, extremedura, moron etc for authentic, but subtle flavor. Basically a big amalgam of where flamenco guitar has evolved to since it started.
Ricardo
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CD's and transcriptions available here:
www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Apr. 17 2010 5:08:06
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