Ricardo -> RE: Tauromagia book review (Jan. 28 2023 16:47:09)
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ORIGINAL: lohan Hi Tercio De Vara is a phase of a bullfight? Tercio De Vara as a piece is a pure buleria? or is it a Minera plus blueria? or is it Minera por Buleria? What it is? and what its relation to Minera? Thanks Hi, yes. Each song is a piece of the bullfight story, and that buleria is during the main event. The death is the next to last piece, and the end is the fiesta, or after party (I consider it also buleria de Cadiz, part of the Alegrias family). Tercio de Vara (maybe Morante can explain exactly what happens during this portion) is in Rondeña tuning, capo 2, so yes a sort of hybrid guitar wise. Montoya used the tuning to accompany a singer por Taranta before recording his iconic guitar solo. The tuning is likely inspired by the old Vihuela tuning where the G string is dropped to F#. The low D supports an open D chord, and the key center is actually C# Phrygian. I suspect that Montoya calls it Rondeña because he already had titled his Taranta using toque levante (F#) and Minera (G#)…and some singers (Manuel Torre, Carmen Amaya, etc.) referred to TARANTO (the melody) as “Rondeña” back then. The word “Taranto” is not applied until recently, and the Cantes Mineros book I have attributes the melody to Pedro el Morato (originally called Minera, yet they use a variant in the book called Taranto as well). There is also a “Rondeña” that is sung much like Verdiales/Malagueñas which can be a huge point of confusion for people. Back to Tercio, Manolo’s brother plays in the key of Granaina capo 4, however, his guitar is buried quite low in the mix. The secret language of compas is used at the very end of the piece where he marks the Soleá phrase very rapidly (1,2,3,4,5,6,7,8,9,10, un, do)…can’t tell you how many times I play that track for flamenco colleagues and they simply don’t stop clapping on 10. To me it is hilarious (because it is an obvious change of feeling and cierre) and we have to rewind and try again until they get it. [:D][:D]
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