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The structure of palos
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Ricardo
Posts: 14848
Joined: Dec. 14 2004
From: Washington DC
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RE: The structure of palos (in reply to devilhand)
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quote:
ORIGINAL: devilhand quote:
I wanted to make this a challenge, but honestly you have to do it in one and ONLY one take with no practice to be a fair test. That is the true way to accompany and learn. No way! Either I misunderstood or this is impossible if you don't know which palo you're dealing with and in which part the cantaor starts and stops singing, in short, how cante is structured. I did accompany a lot of rock/pop songs with complex harmony changes and syncopated rhythms. The prerequisite is you have to know the song really well first. Why would it be any different when it comes to flamenco? After one has mastered the techniques and can shift between different techniques with ease, everyone will accompany cante. Of course you have to have a broad repertoire of falsetas. This makes accompanying cante maybe different. Guys stop desperately learning solo pieces. It's time consuming and you have to learn everything by heart. Flamenco is not classical music. Learn how to accompany cante first. This is real flamenco. Yes it’s different. Imagine you are in a Beatles cover band and you sort of know many but not all the catalog. The singer jumps from please please me verse to we can work it out chorus to all my lovin’ verse to help chorus, but elongates or shortens them so you might have to hang on a chord longer or shorter than the recorded version you are familiar with, plus the singer might change one note to give a different chord than the original etc, all the while maintaining the groove of Norwegian wood when strumming. That’s sort of like accompaniment for cante. Just finished a show with two singers that had very different styles for singing the same cantes... one guy kept throwing me this curve ball that would be the equivalent of the ending of the chorus of we can work it out “fussing and fighting my friend” and you know it’s done, he would do like “fussing and fight, and fussing and fighting, and fighting and fussing and fighting..... my friend”, that type of thing to trick you. It’s an art all it’s own to learn how to accompany this stuff, and I’m always learning new things with good singers.
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CD's and transcriptions available here: www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 12 2019 13:46:24
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devilhand
Posts: 1610
Joined: Oct. 15 2019
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RE: The structure of palos (in reply to Ricardo)
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quote:
Yes it’s different. Imagine you are in a Beatles cover band and you sort of know many but not all the catalog. The singer jumps from please please me verse to we can work it out chorus to all my lovin’ verse to help chorus, but elongates or shortens them so you might have to hang on a chord longer or shorter than the recorded version you are familiar with, plus the singer might change one note to give a different chord than the original etc, all the while maintaining the groove of Norwegian wood when strumming. That’s sort of like accompaniment for cante. Then it's all about being a marionette of the singers. Ok, I believe what you're getting at. It is really fun to listen to how guys are accompanying cante in Cante Accompaniment Practice Thread. Can't wait to accompany my first cante. What I can do now is creating different accompaniment ideas in my head while listening to cante versions without accompaniment. Is it a proper exercise? How do you practice accompaniment when the guitar is not around for example in the bus or metro etc.? quote:
Just finished a show with two singers that had very different styles for singing the same cantes... one guy kept throwing me this curve ball that would be the equivalent of the ending of the chorus of we can work it out “fussing and fighting my friend” and you know it’s done, he would do like “fussing and fight, and fussing and fighting, and fighting and fussing and fighting..... my friend”, that type of thing to trick you. It’s an art all it’s own to learn how to accompany this stuff, and I’m always learning new things with good singers. Instead of making it unnecessarily tricky, why do you guys arrange together beforehand to avoid any bad surprise during a performance?
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Say No to Fuera de Compás!!!
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 12 2019 15:28:50
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