Ricardo -> RE: Antonio Mairena (Jun. 15 2022 17:14:05)
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quote:
ORIGINAL: devilhand For those who seek to find a way to enter the world of flamenco cante. A very valuable piece of information. I think it's a nice summary of the book 'Mundo y formas del cante flamenco' by A. Mairena and R. Molina. http://hispanoteca.eu/M%C3%BAsica%20ES/Cantes%20flamencos.htm It seems a lot of flamencology either derives from Mairena and Molina’s book and attempts to reinforce its conclusions and ideas (pro gitano camps) or the opposite (pro Andaluz in general). Honestly I fall in the middle of the two. On the one hand I agree mostly with Mairena’s assertion of a “hermetic period” or a secret cultivation by gitano communities that operates two fold in creation and preservation of classic form, that later opens up and integrates more with working class payos in the region. I don’t necessarily think that was centered on specific song forms (group 1), but rather the whole package (at least groups 1-3). The big problem there is all the pro-gypsy minded folks want those gypsies to be, for romantic or hippy type reasons, the vagabond homeless oppressed/targeted chicken thieves, when in all honesty it was the already integrated working class gitano communities that preserve and cultivate the art form. (As we saw with Planeta, it seems his dad changed the family last name for a census to avoid being associated with “those gypsies”, hence confusion over last names). What I disagree with his/their song categorization is minor, as most of that I agree with. 4 main groups is fine. Tiento and Tango needs to go as the derivative of SOLEÁ group like buleria Cana polo etc. I also feel Petenera and bambera needs to fit right in there. (Bambera shares specific melodic content with Paquirri solea and Petenera the same with Solea Apola). Siguiriya is an obvious if small group, the melodic material of the Cabales like Serrana is all over the place, and to my ear, often accompanied with wrong chords (unlike Serrana). If I were to sit down and rework anything in the tradition it would be the Cabales because they are very interesting musically. The Alegrias, conversely, need to bump OUT of that sub family go as a sort of “Fandango de Cadiz” sub genre of Fandango IMO. Next that third group is obvious, however, those Cante Levantinos couple with Verdiales and Fandango de Lucena due to musical structure or “clashing” with the more obvious Fandango structure derivatives. By that I mean certain styles such as Rondeña and media Granaina fit the form like a normal slow fandango, where as the Fandango Lucena and Taranto share this secondary dominant structure that melodically clashes with Fandango and therefore seem to be related closer to each other. This is very “minor” in the bigger picture but I think it is important because these are the blue prints I need to use as an accompanist of cantes. The Fourth category is fairly obviously grouped correctly (minus the Bambera and Petenera as mentioned). Important to note the LYRICAL structures can interchanges between the 3 other groups. As guitar players scratch there heads about these grouping designed around the SINGING, the rhythm and dance forms need their own separate categories so we can have things like Fandango por Soleá, and Taranto por baile. I wonder if folks have any insight to the above distinctions that separate Mairena and Molina as authors? I assume most of the ideas come from Mairena but I am not really sure what Molina’s contributions are exactly?
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