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RE: All the Solea
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BarkellWH
Posts: 3460
Joined: Jul. 12 2009
From: Washington, DC
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RE: All the Solea (in reply to DavRom)
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quote:
development of cante? is this thread really about cante? All the Solea...you said, "Let's go back to the roots and chart out a new thread about this old important form." Solea' arguably is the mother of flamenco palos, and cante is the mother and origin of Solea' and, indeed, of flamenco. This thread is not just "about cante," but if we are going "back to the roots" of Solea' we cannot ignore cante. Before there was guitar accompaniment and baile, there was cante. Guitar and baile followed. If we are going back to the roots and following up on Solea's historical development, we cannot ignore cante. Bill
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And the end of the fight is a tombstone white, With the name of the late deceased, And the epitaph drear, "A fool lies here, Who tried to hustle the East." --Rudyard Kipling
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REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 30 2016 16:28:15
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Ricardo
Posts: 14854
Joined: Dec. 14 2004
From: Washington DC
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RE: All the Solea (in reply to estebanana)
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While I am all for the topic getting back to hardcore flamenco, I must admit nothing so far we can do will be better than as Norman layed em all out with examples for Solea here: http://canteytoque.es/soleares.htm I know Orson posted it but it is THE iceburg where as the rest being discussed is the tip. Sorry to be one dimensional about it. All questions of style rhythm length WHO composed it, what region, etc etc, all there very clearly mapped out. About guitar influencing cante, sure in the modern times. I have to say first, BAILE forced the Solea more into a box and made it ridiculous slow to the point that moder singers often view the old way of singing "too fast and out of compas" ....which is just wrong but such is evolution. As far as guitar solo, not much changed with por Arriba until Siroco, which opened finally a door to exploring other keys within the form. Modern young payers (at that time) took the torch to introduce new tonalities completely (Nunez Taranta Solea por buleria, V. Amigo D# Solea and Solea por buleria etc), and finally force willing singers to either sings normally over their new tonalities (Tomatito Diego Cigala, Diego del Morao Montes Cortez), or Learn new composed melodies "por Solea" (Vicente amigo, Jose Merce, M. Sanlucar and various singers etc). I would say things sort of have slowed down with Picasso esque Solea remnants of guitar solo playing like Gerardo Nunez Solea in D via Rondeña tuning (slow and dance based) and Diego del Morao's C# Solea in a modified Rondeña tuning (again same stuff with Montse Cortez, up tempo "por buleria")....but by no means does it need to stop here. I feel there is room for both to evolve, but with no help from the orthodox dance form that might constrict both guitar and cante if it's not pointed out there used to be some freedoms. (I wanted to point out in Noman's examples, the so called "Jerez anonymous" Solea is pretty much just what we think of, as working pros, as the most typical buleria extremeño/Jaleos song form. There might be a special way to play guitar to these, see the cante accompaniment thread for examples)
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REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 30 2016 16:45:19
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