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Can someone tell me what form these two songs are? Track 5: A Mi Tio "El Niño Miguel" Track 7. Callejón De Las Canteras
Greetings!
Track 7 is one of my all-time favorites right now, such a beautifully dark piece.
I'm new around here. Very much a novice as an appreciator and tocaor. Looking forward to reading through the posts and seeing what is going on around here.
Thank you very much, I thought track 5 was probably a buleria. But I thought track 7 was possibly a mineras. Same as taranta in this case? Or not really?
RE: Tomatito's Barrio Negro (in reply to Delta_Slider)
quote:
But I thought track 7 was possibly a mineras. Same as taranta in this case? Or not really?
They are both free forms of flamenco (meaning, there is no compas or structured rhythm). The difference is the key. Taranta is in F# and minera is in Ab.
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RE: Tomatito's Barrio Negro (in reply to Delta_Slider)
quote:
But I thought track 7 was possibly a mineras. Same as taranta in this case? Or not really?
Scott
Very good ear actually. The reason is double fold. First, Minera and Taranta are of the same family of songs, cante de la mina or cante de levante so you have very similar "aire" as they say, or atmosphere created buy the toque. Second thing is, it is a taranta by name, but Tomatito uses a very unique tuning for that piece where the strings are named:
EAC#AC#F#, a higher pitch tuning then normal. But tonic is actually G# so technically I would call it minera after all. But the open string dissonances call out more the taranta aire so it could probably have it's own unique place in flamenco toque as does montoya's rondeña, if only it had taken off as a popular tuning. Far as I know, this is the ONLY piece with this tuning. From Alain Faucher:
quote:
6. Another remarkable composition from Tomatito, Callejon de las Canteras (taranta, a track from Barrio Negro) innovates in an original way. Strings 1, 2 and 3 are raised, while the 4th is lowered, as follows, from bass to treble: E, A, C-sharp, A, C-sharp, F-sharp, in order to play por taranta in the G-sharp tonality (i.e. in the E-Major scale). The fundamental chord, G-sharp, in its basic position is the same as that of the taranta, shifted up two frets (with a small difference: the fourth finger is moved up one fret higher than the third finger).
One could say that G-sharp is the tonality of the minera, adding the similarity with the primitive minera fingerings. In fact the likeness stops here, because there is no doubt about the intention: with this tuning, the fundamental chord reproduces note by note, in the same order, the intervals that characterize the dissonances of the taranta, not the minera.
In its usual F-sharp form this style doesn't suffer from a limit in depth, as the open sixth string is already lower than the keynote by one tone. However the purpose –perfectly achieved – of this somehow intricate tuning is, as in the other cases, to gain extension of the bass register. The trick consists in reaching this result not by lowering the sixth string, but rather by rising the trebles, pushing the tonality upward by one tone. What imagination!
RE: Tomatito's Barrio Negro (in reply to Delta_Slider)
Thanks for all the info guys! Good to know the differences and similarities between the two forms. More info to add to my learning about this great music!
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