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Ricardo
Posts: 14801
Joined: Dec. 14 2004
From: Washington DC
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 RE: SOLEA DISCUSSION (in reply to Guest)
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I can recognize the differences if I heard them, though I am not so sure I could name them and their creators without a reference, but I know the melodies. And I am sure I could accompany them pretty well if I heard them once, even if it was knew to me.
Chords are usually E-Am, then F-E resolution for the first line, then the "cambio" to relative major G-C for the second line and F-E resolution again for third line. There can be repeats of certain lines or omission of the resolution, cambios to other tonos, depending on how the singer sings it and what his/her personal style is.
It is easier for me to pick out the details of the meldody if I hear the SAME cantaor interpreting different styles, then hearing different singers do the same style or even letra (that is real helpful) to compare. Cutting through the melismas to get at the fundamental melody is the challenge once you understand the structures. Anyway, Solea Apola is an easy one to pick out. That part of the melody using the long scale is very recognizeable. There is a good instructional video for Solea accomp. by Herrero where they do a couple of Solea's and also Cana and Polo. My favorite styles are those from Jerez generally. I like Solea de Jerez, Solea por bulerias (especially the often done medio compas cambio to relative major), Bulerias of course! But that is because I like those singers the best I think.
Ricardo
PS ROMERITO, I saw the other topic, but I am kind of sick of that stuff, so I wondered what you had of La Kaita, and also want to make sure you have the Rito y Geografia del Cante. The latest edition of DVD's is cleaned up audio and video with a really nice book describing everyone and everything in the frame.
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REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 23 2006 4:26:17
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Ricardo
Posts: 14801
Joined: Dec. 14 2004
From: Washington DC
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RE: SOLEA DISCUSSION (in reply to Guest)
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No need to keep reitterating my point, but what might happen is:
"El sitio donde hable"....but guess what, no F#. So you better not play that B7 if you don't hear the note!  Or maybe you have heard them move the melody to Bb so you gotta play C7-F, before the G-C move. Lyrics don't really matter.
Another thing that will mess you up is when some singers (especially from jerez) will start singing from the middle of the compas (after count 7 if you are nerdy counter), and you have to move the chord on 3 instead of 10 sometimes, depending on how they resolve it. But you don't get to play the half compas remate like you can in bulerias, you have to keep the 12 feel.  So having heard the similar melody, with the same lyric, can mess you up if you try to second guess the singer. Like I said, it is cool you know it one way and have the experience with some singers that always do it that way, but always keep your guard up.
Usually it is easy if you have some experience accomp. different things with the one singer. You get used to his "way". But he can still mess you up if you are not careful. Try not to go on autopilot when accompanying cante. Use the standards as a blue print only.
Ricardo
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 7 2006 4:40:55
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