NormanKliman -> Cancanilla y Chaparro por bulerías (Mar. 2 2010 7:41:54)
As Blind Blake said, "I got somethin' gonna make you feel good..."
EDIT: I noticed that I accidentally left out one of the cantes, because I don't really have anything to say about it. That messed up the order of first, second, third, etc., so I've added starting times and first sung lines to avoid any confusion.
Cancanilla is a real powerhouse of a singer with many years of experience and a whole bag full o' surprising cantes. I used to see him all the time in Madrid, where he'd sometimes show up at a peña in the wee hours of the morning, always bringing down the house, as they say.
1:20 Si tú (...) al cortijo. A famous soleá of El Choza por bulería. That is an example of what I would call soleá por bulería (cante por toque), but not everybody says things that way.
2:09 Con un pañuelo de picos. Sounds like a copla or something I've never heard before. Notice how Chaparro (excellent playing) goes to C for a second in the beginning but realizes and changes to D minor, with the singer's nod of approval.
3:29 A la tienda nueva iré. The bulería corta with all the lines of verse linked together. Notice that the guitar goes to E for just a second at the beginning of the second line.
4:17 (Me dan) las claras del día
4:58 Ay qué bonita está una parra. Notice how it starts like the bulería larga and the guitarist knows that there's going to be a little space to fill after the first sung line. At the end, there's a moment where he goes to E that he probably knew to expect because he's been working with this singer for a while (accompanies on his latest recording).
5:44 De las dos que están bailando. Terremoto. Check out the strum at 6:39. It sounds like his nails are hitting the soundboard. He doesn't look surprised.
6:50 Mira qué gitanito soy. Jaleos.
7:09 La molinera, la molinera. Also sung by Camarón's mother on video and Carmen Linares on her anthology.
Estevan -> RE: Cancanilla y Chaparro por bulerías (Mar. 2 2010 12:29:21)
Well I don't know nuthin about all this 'canty' stuff, but that sure is some mighty fine singin' and playin'.
Ricardo -> RE: Cancanilla y Chaparro por bulerías (Mar. 2 2010 12:37:45)
quote:
the second cante sounds like a copla or something I've never heard before. Notice how Chaparro (excellent playing) goes to C for a second in the beginning but realizes and changes to D minor, with the singer's nod of approval.
maria Vargas sings this live with Paco Cepero "Live Festival Flamenco Gitano 1" one of my favorite performances. Disc also has camaron singing fandangos and Paco de lucia performs Guajiras and Panaderos, etc. I assume it comes from la perla de cadiz because most of what she sings in that is from her.
NormanKliman -> RE: Cancanilla y Chaparro por bulerías (Mar. 2 2010 14:36:54)
Good catch. There are only short audio samples available at that site and I don't have the recording. Maybe it's on the El Flamenco Vive CD of La Perla. On that "Live Festival" recording, it sounds like Cepero accompanying Camarón.
Ricardo -> RE: Cancanilla y Chaparro por bulerías (Mar. 2 2010 17:56:00)
quote:
ORIGINAL: NormanKliman
Good catch. There are only short audio samples available at that site and I don't have the recording. Maybe it's on the El Flamenco Vive CD of La Perla. On that "Live Festival" recording, it sounds like Cepero accompanying Camarón.
Yeah, PDL only plays solo, and cepero does all the rest.
I will email you the buleria it is fantastic.
Guest -> [Deleted] (Mar. 2 2010 22:45:47)
[Deleted by Admins]
aleksi -> RE: Cancanilla y Chaparro por bulerías (Mar. 3 2010 0:29:25)
Norman, I was listening this and Im not sure where does the third letra start. Is it from 3.30-3.40 or from 4.17-4.41.? Also, what are the differences between buleria corta and larga?
NormanKliman -> RE: Cancanilla y Chaparro por bulerías (Mar. 3 2010 1:44:21)
Hi Aleksi,
Yeah, I noticed this morning that I'd accidentally left out the fourth cante, so I've added starting times and first sung lines. It should be right now.
The difference is that they're different cantes, with different melodies and structure. You'll have to listen to examples to hear the differences. Both cantes are often sung fast (bulería) or slow (bulerías por soleá, soleá por bulerías, bulerías para escuchar, etc.) You can hear some examples of the slow versions here:
The Familia Zambo recording has lots of versions of both cantes por bulería.
aleksi -> RE: Cancanilla y Chaparro por bulerías (Mar. 3 2010 2:04:11)
quote:
The difference is that they're different cantes, with different melodies and structure. You'll have to listen to examples to hear the differences. Both cantes are often sung fast (bulería) or slow (bulerías por soleá, soleá por bulerías, bulerías para escuchar, etc.) You can hear some examples of the slow versions here:
The Familia Zambo recording has lots of versions of both cantes por bulería.
Ok, thanks. Ill check those. I havent really seen the labels of corta/larga, usually they are just bulerias and that makes it difficult to get a hold of them. Like salmons, there are just too many of those type of fishes [:D]
NormanKliman -> RE: Cancanilla y Chaparro por bulerías (Mar. 3 2010 2:27:09)
And not everybody uses those names. There are others like Antonio La Peña and María La Moreno, and the corta is really two different cantes, so the names aren't so important.
But the corta and larga are the core of the slow bulerías. Most old recordings are just those two cantes one after the other.
In fast bulerías you don't hear the larga too often, so it might not be in the Zambo recording.
quote:
...makes it difficult to get a hold of them
Some falsetas are like that... like trying to hold an animal that doesn't want to cooperate![:)]
aleksi -> RE: Cancanilla y Chaparro por bulerías (Mar. 3 2010 3:05:41)
I listened now the corta samples on your site. If I understand correctly then the corta is 3 lines and 3 compas long + 2 compas repetition of the second and third line (is it called cierre or remate?) like pastora pavon did. It also sounded that the 10. beat of second compas the melody hits A note and guitar Fmajor chord. Did I get it right? What about the repetition, can the singer choose to repeat if he wants or is it a habit/rule with some particular letras?
NormanKliman -> RE: Cancanilla y Chaparro por bulerías (Mar. 3 2010 3:56:56)
That's a good description of what usually happens but it's just one way to do it. You don't have to repeat the last lines of verse. It's best to listen to a lot of different versions, especially from different kinds of voices. A lot of people sing these two cantes really well: Sordera, Terremoto, Agujetas, Fernanda y Bernarda... probably even Rocío Jurado. There are many.
We talked about these cantes a couple of years ago. If you search for the word "larga" you can find part of the thread, but other parts of it aren't displaying properly (post from 22 December 2007 replaced with timeout message).
aleksi -> RE: Cancanilla y Chaparro por bulerías (Mar. 4 2010 3:50:53)
quote:
We talked about these cantes a couple of years ago. If you search for the word "larga" you can find part of the thread, but other parts of it aren't displaying properly (post from 22 December 2007 replaced with timeout message).
I found the thread. The buleria larga is more difficult to understand. Now Im getting frustrated [:@] .They are different length and then theres half compas stuff and people start lines on different beats. Sounds like the longer the bulerias the more freedom singers take with it. I think I have to spent more time on your site [:)]
srshea -> RE: Cancanilla y Chaparro por bulerías (Mar. 4 2010 14:30:14)
Thanks for the vid and, especially, the play-by-play, Norman! This sort of stuff does not go unappreciated, for the info you provide and for the fact that it sent me digging through my anthologies…
The whole thing’s great, but I gotta say that I really, really like this Chaparro guy’s playing. Based on this vid alone he’s now officially my new favorite guy I’ve never heard of before. To me and to my taste this kind of playing is just “perfect”: super funky, a la Cepero; shades of Tomatito; everything really sharp and strong; exactly what I like to hear…
