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.
me being colombian, i was listening to old colombian music and i came across rumba criolla, which i immediately recognized as being similar to tanguillos. reading the history of rumba criolla i saw that it shared it's origin with tanguillos, coming from tango cubano. rumba criolla started in the 1920s, it's originator being Milciades Garavito. rumba criolla's rhythm is 6/8 and 3/4 at the same time (the same as tanguillos). here are the most famous examples of both styles
RE: Tanguillos and Rumba Criolla (in reply to wilson s)
Tanguillos belong to my top 3 palos. However, there seems to exist different versions of them. Whenever Tanguillos are sung, they sound different and become less appealing to me. What Mr. Soler plays here 11:06-14:30 is exactly THE Tanguillo I like. Which Tanguillo is this? Can anyone please clarify this?
RE: Tanguillos and Rumba Criolla (in reply to Ricardo)
This one, which we’ve been trying to play, seems to me to be basically 3/4, unlike the others I can find. Or am I listening stupidly? https://youtu.be/1Y4STsgKGKw
RE: Tanguillos and Rumba Criolla (in reply to wilson s)
all tanguillos are polyrhythmic. there are different opinions on the compas. some saying it's 6/8 3/4, 6/8 2/4, and even 6/8 2/4 3/4. this guy says it's 6/8 3/4 at 4:18 in the video
Posts: 15725
Joined: Dec. 14 2004
From: Washington DC
RE: Tanguillos and Rumba Criolla (in reply to wilson s)
Sorry guys but as soon as you lose the binary beat felt as triplets (6/8) or straight (2/4) then you have lost the feeling. There never is 3/4 going on feeling wise, though the synchopations might sound like that. Slipping into 3/4 is like feeling contra beats as the on beats, it’s simply to be avoided in order to be locked in. Watch maestros tapping their foot.
RE: Tanguillos and Rumba Criolla (in reply to devilhand)
quote:
ORIGINAL: devilhand
Tanguillos belong to my top 3 palos. However, there seems to exist different versions of them. Whenever Tanguillos are sung, they sound different and become less appealing to me. What Mr. Soler plays here 11:06-14:30 is exactly THE Tanguillo I like. Which Tanguillo is this? Can anyone please clarify this?
Posts: 15725
Joined: Dec. 14 2004
From: Washington DC
RE: Tanguillos and Rumba Criolla (in reply to devilhand)
Pedro soler is playing his own interpretation of tanguillo de Cadiz. When playing for the singers and dancer we only need to strum chords, so many guitar solos will mimic the vocal lines as falsetas. The closing chord sequence he does is kind of long and suggests to me that Pedro had this worked out for some dance choreography.
In any case here is the same idea although much more true to the actual vocal melody, and more clear execution. Please note the key changes between A minor and A major that come from following the singing (Pedro attempted this in his version but it’s much more clearly done by melchor)
RE: Tanguillos and Rumba Criolla (in reply to Ricardo)
quote:
The closing chord sequence he does is kind of long and suggests to me that Pedro had this worked out for some dance choreography.
Thanks for the reply and video of MdM Tanguillo with some nice close-up shots. It's a shame that the video has only around 400 views. Maybe others downloaded it like I did and are watching it offline over and over again. Because youtube videos come and go. So we never know when it will be taken down.
As for Tanguillo played by Pedro Soler, I wonder what could be the main chord progression, especially at the beginning and at the end. I could not figure it out. If you could tell me which chords are played there, I'd be forever grateful.