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RE: Solea de Triana.. chords please (in reply to Anders Eliasson)
Thanks Andy
Its a fantastic resource. (thanks Norman, I´m studing)
Henrik, yeah, I´ve been on youtube and I´m still confused
BTW, I want to say congratulations with your entry on the Cante challenge. It was really good. You are very present and following the singer at the same time. They would love you here. You are improving your playing a lot and working with a singer would suit you very well.
RE: Solea de Triana.. chords please (in reply to Anders Eliasson)
Matic.
Thanks. I think I´ll buy the Clavel compilation. I like his voice anyways. I think what I was looking for was a kind of easy answer to a difficult question, so that I didn´t have to think to much myself. I have forund out that I need to change my attitude and study
RE: Solea de Triana.. chords please (in reply to Anders Eliasson)
Here's a description of the styles that have unusual chord changes. All the chords and notes are for por arriba accompaniment, so be careful because some of the recordings on my site are por medio. I've put them into three categories. Only a few of these styles are still sung today.
First category: Soleás that change to G and/or C before the cambio. They all sound similar, with aires of cañas, polos, serranas and other ancient singing styles.
El Fillo 1: Second line of verse ends on G, third on C.
Silverio 1-2: Third line of verse C, fourth line of verse G (modulate with D7), ends with repetition of first and second line of verse like a normal cambio. A lot of singers know Silverio 2, and it's the style that usually trips us tocaores, maybe because of its similarity to another Triana soleá, José Lorente, which actually has no unusual chord changes.
Enrique Ortega: Similar to Silverio 1-2. First line of verse C, second line of verse G, take it from there like a normal cambio. You might run into an older singer who remembers this style.
José Yllanda 1: This one also goes to G (in the first line of verse), but it doesn't have much to do with the other soleás in this category (it's three-line verse and the others are four-liners). This style isn't at all popular. Similar aires are in the jaleos extremeños and the soleá Jerez anonymous.
Second category: Odd tones that you can try to match with the right chords. The terms fifth and second refer to the degrees (notes) of the E Phrygian scale, so flatted fifth is B flat (use C7) and sharped second is F sharp (use D7 or even B7). Two non-Triana styles are similar: Juaniquí 4 (flatted fifth) and La Serneta 3 (sharped second). Not many singers know any of these cantes.
José Yllanda 2: sharped second degree in conclusion (D7 or B7).
José Yllanda 3: flatted fifth in conclusion (C7).
Serneta 4: Flatted fifth throughout (C7).
Third category: The soleá attributed to Pinea uses normal chords but the lines of verse are linked together and the cambio comes up quickly. It's usually a three-liner, and when the first verse isn't repeated it's a very short cante. A lot of singers know this style.
RE: Solea de Triana.. chords please (in reply to Anders Eliasson)
Hey Norman. Thats a great help. Your site is fantastic, but when you start listening to it all, it seems so endless. This categorizacion is really helpfull.
RE: Solea de Triana.. chords please (in reply to Anders Eliasson)
Hi guys,
Jason: "Verse" means both a single line and a group of lines, but I think of it as you do, as a stanza, and I've edited my post. It seems a lot more simple in Spanish, with the terms estrofa/copla/letra (stanza/verse), verso (line of verse) and tercio (sung line of verse), although sometimes in Spanish people don't clearly distinguish between tercio and verso. It can be really confusing talking about these things! For example, some cantes start with the second written line of verse, which makes it the first sung line, etc.
Anders: Yes, there's a lot of information (over 400 audio files of siguiriyas and soleás). It's important to be aware that not all of the styles have to be learned, because many have fallen into oblivion (like the soleá El Fillo 1), others were never popular (José Yllanda 1), some are particular to a certain artist and therefore not very popular (José Yllanda 2 and 3), and a few contain tiny differences that hardly warrant special attention (Pepe el de La Matrona's styles, for example).
I've heard many people complain that the Solers' system of classification takes into account too many obscure styles and tiny details. For example, Pierre Lefranc has a similar book with narrower criteria. It doesn't include styles that are based on fewer than three recordings, if I remember correctly. While a narrower scope is easier to understand (and makes the author look better), I think a broader scope contributes more to the art form. For example, the soleá El Fillo 1 is excellent, but as far as I know nobody has ever recorded it. There aren't that many "hidden gems" in the old recordings, but there are a few.
So about the overabundance of information, I'm very much in favor of keeping things as simple as possible, but I think it might sometimes be an advantage when you have to put some effort into understanding a really dense piece of research. The language itself is another matter though. Long flowery sentences turn me off right quick!
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