NormanKliman -> RE: solea al golpe (Dec. 27 2010 19:48:41)
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quote:
well i have to admit that i only realized this 4 patterns with this post I'm gonna pay it more attention from now on... quote:
how does one recognize the solea structure part ? I mean the [ 1.De incio - 2.De transición - 3.De transición/cierre - 4.De cierre ] Based primarily on 4 pattern verse or are there other ways? As I said in my last post, the patterns should not be interpreted as rules. The "soleás de incio" are pretty well defined, but it doesn't mean that they can only be used at the beginning. It wouldn't make sense to sing a "soleá de cierre" anywhere but at the end of a series of soleás, but you could also end the series with one of the cantes from the "transición/cierre" group. "Soleá de transición" doesn't really mean anything. The patterns are just ways to help understand the differences and similarities among the nearly 100 styles of the Solers' classification. The only way to learn those styles is to spend a lot of time listening to them and comparing them. It also helps to know how popular each style is, because there are some ancient soleás (Rafael Moreno 1 and 2, for example) that you're never going to hear, so you don't have to "waste time" with those styles. I'm adding this information to my webpages now, but it's going to take a while. Maybe I can post a table or something similar here; give me a minute. EDIT: Okay, tables aren't going to work here, but this is the information I'm working on now, roughly translated from Spanish: Pattern 1: AB-BB-CD-CD/AB-AB-CD-CD Classic model of soleá de inicio. With four-line verse, the cante starts with the repetition of a compound musical phrase (two different phrases in two lines of verse) that resolve to the tonic at the end of the second and fourth sung lines. The first sung lines can be AB-AB or AB-BB and the last sung lines can be CD-CD or CD-AB (in nearly all styles, there is great freedom of expression for the repetition of the conclusion). Popular: (II-I) Mellizo 1, Andonda 1. (I7-IVm) Joaquín 1, J. Talega, Noriega, Ollero, Machango Known: (II-I) Lorente, Triana 1. (I7-IVm) J. Ramírez Not popular: (II-I) Roezna 1, Onofre 3, Mazzantini, Borrico, Sordillo 2, Triana 5, Breva. (I7-IVm) Mairena 1, Serneta 2 Other ways of singing four-line verse: A-AB-CD-CD: Serneta 1, Fillo 2 and Onofre 1. The first line of verse is sung separately, then the first two lines are sung together. ABB-CD-CD: Paquirri 1 and Ribalta. The second line of verse is repeated, forming a three-line unit. ABCD: Matrona 1, Fillo 1, Joselero and Yllanda 3. The four lines of verse are sung one after another. ABCDAB: Silverio 1-2 and Enrique Ortega. Three soleás apolás whose melodies involve the chord progression VI-III-VI-II-I. In the styles of Silverio, the chord progression means that the cante has to have six sung lines of verse. Pattern 2: A-A-BC-BC Transitional cantes. With three-line verse, the first line is repeated unlinked and with the same melody. Popular: (II-I) Juaniquí 2, Andonda 2, Serneta 5. (I7-IVm) Frijones 2. Known: (II-I) A. Talega 1, Jilica 1, Joaquín 4, Paquirri 2 and 4, Frijones 3, Juaniquí 1, Quino, Charamusco, Serneta 3. (I7-IVm) Aurelio, Frijones 1, Juaniquí 3. Not popular: (II-I) Onofre 2, Mairena 3, Serneta 7, Yllanda 2, Triana 2-3. (I7-IVm) Mellizo 3, Andonda 3, Santamaría, Cagancho 1-2, Matrona 2, Oliver, Mairena 2, Ballesteros, Triana 4 Pattern 2 is used in the styles Carapiera (V7-I), Serneta 4 (VI7-II) and M. Caracol and Jerez (II-III). Pattern 3: ABC-BC Transition/ending styles, sung with three-line verse, linking the lines. Popular: (I7-IVm) Joaquín 2 Known: (II-I) Pinea. (I7-IVm) A. Talega 2, Roezna 2, Serneta 6 Not popular: (I7-IVm) Jilica 2, Cádiz Pattern 3 is used in the styles Juaniquí 4 (VI7-II), Yllanda 1 and R. Moreno 1 (II-III). Pattern 4: AAA-BC-BC Ending styles. Three-line verse with linked and/or fragmented lines. The styles are Joaquín 3, Mellizo 2 and Paquirri 3. Although there are only three styles to this pattern, singers nearly always end a series of soleás with one of these cantes. Other ways of singing three-line verse: AAA-BC-BC: Morcilla, Frijones 4, Mairena 4 and Pepe Torre. The lines of verse are arranged as in pattern 4 but without linking. In this way, three-line verse can be adapted to melodies that start with two or more different musical phrases, such as those of pattern 1. AABC: Francisco Amaya and El Portugués 2. Four different musical phrases sung with three-line verse. In this way, three-line verse can be used for melodies that are sung over four consecutive or linked lines of verse. The remaining styles have been recorded with several different arrangements and can not be matched to a single pattern: Chozas 1-2, José de Paula, Portugués 1, Sordillo 1. I haven't been able to find any recordings of the styles Rafael Moreno 2 and Emilio Abadía 1-2 so they're not included here.
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