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Guajira por baile?
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Mark2
Posts: 1882
Joined: Jul. 12 2004
From: San Francisco
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 RE: Guajira por baile? (in reply to Jon Boyes)
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Kinda tough to get a handle on without the cante, which really frames this dance. There is often a contessesion after the first sung line, which can speed up a little. The entrada is usually played in compas-I've never heard it or played it libre, but that doesn't mean it hasn't been done. It usually starts real slow, which may make you think it's libre, but if they are dancing or fooling around with their fans, they probably want compas. The footwork sections will likely speed up, you have to watch the dancer and go with her. They will end the section with a break and then start again slower(for the singer to come in) A good break is F to E7 to A-this can also be used for the contessesion. Get hold of a cd with the cante on it so you can get the progression-it goes to F#7 then Bm in the second line of the cante in most versions, but I've heard some that never make this change. Your gonna want some new chord progressions for the footwork-those two chords get old fast. Finally, it usually ends in bulerias. You can modulate anywhere you want (ie por medio)if no one is singing for the bulerias. If they are singing , it's probably gonna require the guajira chords because the singer will probably sing the guajira melody por bulerias. But of course the singer could take off into other melodies that were not part of the original song.
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REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 16 2005 17:14:41
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Mark2
Posts: 1882
Joined: Jul. 12 2004
From: San Francisco
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RE: Guajira por baile? (in reply to Jon Boyes)
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When you say you don't have a singer, do you mean right now, as in rehearsal, or do mean you aren't going to have one and you will have to perform without one? If it's the former, you would want to play the letra chords where the singer would sing. That way when the singer shows up, not much changes. If it's the latter, then you would want to play falsetas where the singer would sing. This would be when the dancer is simply marking as opposed to doing footwork or breaks. I have to say that this dance without cante, or alegrias, solea, fandango, without cante is, to me, a somewhat fruitless exercise, in that when the cante is supposed to be happening, all the dancer is doing is marking. Unless you can really pick up the slack with very interesting playing, or the dancer is simply mesmerizing, things are going to drag at this point. OTOH, a good dancer might arrange their dance to minimize this, by shortening the letra sections, or by simply being interesting enough to overcome the feeling that something is missing. For me, dances like farruca, zap, and even bulerias or tangos are better for no cante performances. One thing's for sure, it ups the pressure on the guitarist to have to play for a dance that is structured for cante and there is no cante. I've done it and I don't like it. With your background as a soloist, however, it might not be a burden to have to fill all that space with falsetas. Another solution is to bring in another instrumentalist who can play the cante melody. I would try to do this if there was no possibility of a singer being there, but then, I don't feel my playing is interesting enough to fill all that space. In other words, I'm too lazy to work out all those falsetas. I got the bootleg PdL dvd the other day and noticed he has no trouble filling any kind of space between infrequent choros and letras! Best of luck and enjoy!
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REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 17 2005 16:45:59
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