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RE: The Cante accompaniment challenge!! Finally
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Ricardo
Posts: 14822
Joined: Dec. 14 2004
From: Washington DC
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RE: The Cante accompaniment challeng... (in reply to XXX)
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quote:
ORIGINAL: Deniz What i mean is... the cante does not always resolve into chords on the accents, but normally, in normal compas playing, the chords always only change on the accents. Now, sometimes it sounds strange, to my ear at least, to play the 9 as the 10, but the cante resolves on 9 and not on 10. Im making the numbers up it could be 8 or anything. Ok I got you. That is another part of the art of accompaniment to take note of. You resolve AFTER the singer, not always litterally with him....because he can take you with his voice some other place, so a good singer gets where he wants YOU to go, before you. So in a case like you say, you sense the singer give the note on count 9 say, you give the correct chord on 10. That is typical, but does not always have to be that way, the is part of the art. When you do this live it is much different then when you have the chance to "arrange" your accompaniment. It is up to you to take advantage of the "arranging" opportunity, or do something more traditional....like record your version in ONE and only ONE take without practicing or even listening to it first. Which is how it would be with a live cantaor. Ricardo
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CD's and transcriptions available here: www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Jul. 9 2009 7:56:43
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NormanKliman
Posts: 1143
Joined: Sep. 1 2007
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RE: The Cante accompaniment challeng... (in reply to Munin)
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Hi Munin, quote:
how the hell do I know which chord to play at which point of the cante? By following the words to know which line of verse is being sung. At any given point, the singer's notes determine the chords, but in a more general sense the series of chords is almost always going to be one of a few variations on a single pattern. The chords that Jason mentioned are the ones most often used in these variations. In blues, the V chord (a G chord in C blues) creates maximum harmonic tension (it makes you want to hear the guitar go back to C). In this kind of flamenco (Phrygian), you can think of the II chord (B flat por medio, C por granaína, G por Levante, etc.) this way, because it "wants" to resolve to the tonic (the I chord: A por medio, B por granaína, F sharp por Levante, etc.) So you have to know what line of verse the singer is singing. If there are three lines of verse, the II chord might be used in the first line, it's almost never used in the second line, and it will "always" be used in the third line. For four-line verse, you're "never" going to use the II chord in the third line. It's logical to save that moment of maximum harmonic tension for the end. Hope you see what I mean!
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REPORT THIS POST AS INAPPROPRIATE |
Date Jul. 12 2009 23:13:55
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