Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
|
Taranto as a guitar solo, what do you have?
|
You are logged in as Guest
|
|
Users viewing this topic: none
|
|
Login  | |
|
   
Ricardo
Posts: 14806
Joined: Dec. 14 2004
From: Washington DC
|
 RE: Taranto as a guitar solo, what d... (in reply to estebanana)
|
|
|
quote:
ORIGINAL: estebanana
I've heard tarantos is the baile and taranta is the cante', then I have heard that Taranto and Taranta are both cante' but sightly different. Then I have seen albums and tab books which use them interchangeably and then I have heard arguments also go on for weeks about which one is oatos or antas....
It's boils down to A or O, and like you say, boring to argue. The same arguments for Bulerias or Buleria, Solea por Buleria, Buleria pa' eschuchar and Buleria por solea.
These designations are not important other than for bartenders to sell beers to those who argue who is correct while drinking many Cruz Campo.
The only reason for argument is because two different folks might be talking about BAILE or Guitar or Cante, and they are three different contexts for the same words.
Cante: Taranto and Taranta are different melodies of the same family, normally all thought of as FREE of compas. Others in the family include cartageneras, levanticas, mineras, fandango minero, etc, collectively refered to as cantes de La Mina....cantes de La Mina are a specific group of songs that fall under the umbrella of Cantes Levantinos that also include Malagueñas and Granainas. IMO, I group them all together as basically specific melodies that follow the form of Malagueñas, which itself is a form derived from Fandangos. So it's all really just special fandangos, but the accompanying guitar will use either the tonos F#, G#, or B phyrgian instead of E or A. Even you can hear old Malagueñas or Granainas of Chacon accompanied in F# or B the same as cantes de La Mina typically are.
BAILE: Taranto is the title given to a dance that rhythmically follows a form similar to Tientos-tangos dance form. That being a binary rhythm that will speed up into tangos or even rumba as an ending. The main difference is the letras sung in the early slow portion of the dance can be any of the Cante de La Mina family. Taranto is the most stripped down melodically in the family, so it is most often chosen as the primary letra to force into what is basically a tiento type compas. Although it need not be the only melody used, it's dominance as the chosen song makes the title of the dance form obvious. I have accompanied the dance with no Taranto melody used at all (cartageneras and levanticas works beautifully). The guitar will accompany in the tonos it normally would for the Cante de La Mina (F#,G#, or B like Granainas all work fine depend on vocal range of singer), and later transpose what is done for Tangos or Rumba into that key.
Guitar:Taranta is the free rhythmic form most often used for Cante de La Minas accompaniment, traditionally in F# Phrygian. So guitar solos reflect this by name. Taranto guitar solo may invoke the rhythms of the BAILE, but can also be free or a mix. In that sense you might have ambiguity that is often argued about. Minera by name means G# to a guitarist but for a singer it is arbitrary as I said early, F# G# or B can be used for the cantes de La Mina. If there is a mixing of styles (Camaron always did this for example) you won't be changing keys, so only one name is often used to describe the Cante, usually the first one sung. So you might find Camaron singing Taranto and Cartageneras with Tomatito accompanying por mineras (G#), and the title could be just "Taranta", "Taranto", or "Minera" depending on WHO is doing the labeling (dance enthusiast, singing enthusiast or guitar enthusiast respecively).
So there are different mentalities depending on the context. I want to also mention that similar to what we recently discussed about Fandangos personales, that being compas of Solea or fandango de huelva might underlie a loose melody (fandango de Gloria for example) a singer/guitarist combo might choose to interpret a Cante performance again with the loose binary compas used for BAILE, even though there is no dancer, for any of the cantes de La Mina. A similar thing happens when a cantaor chooses to open with a free Malagueñas and end with a rhythmical Verdiales or Rondeña.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date May 19 2016 17:22:59
 |
|
 New Messages |
 No New Messages |
 Hot Topic w/ New Messages |
 Hot Topic w/o New Messages |
 Locked w/ New Messages |
 Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
0.078125 secs.
|
Printable Version
Tremolo is low on my priority list because it's not really important for flamenco and there are many other basic things that would be better off shored up instead of spending time on tremolo. Now alzapua is a thing I will send time on, and monster ligado. Even my picado has smoothed out a bit. 
