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Ok, this could be a huge help for a lot of people. To unreveile the secret of cante accompaniment you have to know what is the structure in each palo in singing. There is a topic that Florian once made about the different terms of speaking in flamenco structures like macho, salida, escobilla etc. : http://www.foroflamenco.com/tm.asp?m=164682&mpage=1&p=&tmode=1&smode=1&key=macho That topic is useful because it will help this topic we are reading here to understand what these different structures are in terms of playing. [edit]maybe it's a good idea too to put the source of the information. From who and how did you learn[edit]
Ok I will begin and I hope more and more people will help to make this topic grow about this very very important knowledge and "key" to understand and make easy how accompanying works.
CAÑA cante. The CAÑA looks a lot like Solea, but is faster in rhythm and has a very characteristic "ayes". Originally 5 ayes, but sometimes a singer preferes 6 ayes. As a guitarist you can ask a singer before you start performing the Cana if he sings 5 or 6 ayes. As a singer you could say this before starting to your guitarist. Also a very important thing in the Cana is the cierre. To make clear to the singer as a guitarist that you are done doing falsettas and compas patterns you can play the end of the remate (beats 9 and 10) in a certain characteristic way like in the video of the Cana here at 00:32. The Cana is played por arriba (E phrygian) and contains pretty basic chords that we all know and can hear (I think/hope). The Cana is a palo from Ronda (like serrana and polo). Last (but not least) don't confuse the flamenco palo CAÑA with the CAÑA that you order in a bar.
Ok here is the standard structure. I learned this information from paco cortez (carmen linares, enrique morente) with a dancer and a singer -Compas patterns, ragueo (you could play a falsetta in between) -Salida 00:34 - 00:59 -Los "ayes" (5 or 6) 01:00 - 01:41 -primera letra 02:09 - 03:05 -Los ayes 03:06 - 03:43 -(here you could place an escobilla if you work with a dancer and a singer) -compas patterns -segunda letra -los ayes -you could play a falsetta or some compas with fancy remates here -macho cana06:06 - 06-51 -solea apola -end
This clip is an example. It was the first hit in youtube I could find. In this clip they play it quite slow, and they also end with the macho and mix that sort of with the solea apola. Wich is a bit different. You can watch more videos and listen to records and try to see if you can recognize. Good luck!
RE: Standard structure of different ... (in reply to Anders Eliasson)
quote:
the most widely accepted ones is by Rafael Romero "El Gallina" (Enjoy Perico el del lunars toque.)
Thanks, Anders. Raphael Romero was always my favourite cantaor, and especially singing La Cana, which I believe was his speciality. He also sang a wondeful Peteneras.
I have the original 3-LP collection "Anthology of Cante Flamenco" with him singing this same version of the Cana. Also accompanied by Perico el del Lunar. Not sure when your video was made, buit I always thought Perico el del Lunar was a much older man? He looks pretty young in this video.
RE: Standard structure of different ... (in reply to Rmn)
Ramón: thank you so much! This is one of those things that makes the forum so great.
Falsettas..Compás.. TABS, transcriptions - these things are available in spades. But the understanding of how flamencos interact and perform together is so much harder to come by (at least for me it is!).
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From: Washington DC
RE: Standard structure of different ... (in reply to Rmn)
Cante and baile are two very different things. Not sure how this thread will do. Might be better to simply have a new post to discuss structure for each form.
Meanwhile, I recommend Oscar Herrero's stuff on accompanying Solea. Very good material that covers several styles and Caña and Polo too.
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