Ricardo -> RE: Caña/Polo for dance - number of singing tacts (Apr. 11 2012 15:04:18)
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You guys touched on some important compas things I would like to share some thoughts on. Some things we discussed much in the past already. About Caña....the lament I never thought off as "in compas" anyway. The compas stops there and the singer sings "libre". Not much different the fandango naturales is loosely based on the 3 beat huelva form, but so stretched we just think totally free and it is easier. So what happens is the way the guitar answers the lament that makes it seem like in 7. EFGF then E arp remate ala solea makes it seem like in 7. Thing is it is all on the GUITAR at that point. I learned from some older players along the way the other way to handle that and it feels more like 6 is to NOT play the solea arp remate, but just play this fast triplet on the D string with pull offs: FED then just the E on second fret plus open first string which lands on count 6 or 12. The singer might pause anyway, and often does after the supposed "7" beat version too. Again it is just libre so I dont' worry much about it as the dancer is not moving in compas at this point either....or shouldn't be. Ok, next the Caña escobilla...even though it is phrased in 6s, it still works out cuadrao as I know it: C run to 4 remate then CBD C remate is full compas. CBA G remate, GF#A G remate all is next 12 GAB C remate CDEFGA(8th notes) F Remate FEG F remate 2X GF#A G remate 2X FEG F remate, DEF E remate... Next mairena...he is actually more cuadrao then most singers of his era. Watch Rito y Geografia and notice that there is not one single solea or buleria por solea that is cuadrao baile style. Cante was never supposed to be like that anyway it tells me....though now a days I am sure plenty look at that way of singing as "out of compas" or as you described "all over the place". Understand that cante was ALWAYS that way until baile forced it into a box. (I have been arguing this point in Solea compas threads for years now). Norman spells it out crystal clear in his web dedicated to Buleria por Solea half compas examples. In the old days, compas WAS cut often as we do for buleria nowadays...(see examples on Normans site of Ramon Montoya and miguel Borrull) but since MELCHOR DE MARCHENA and NIÑO RICARDO for some strange reason decided to deal with the plethora of different singing styles by maintaining 12s at all costs for all Solea or buleria por solea cantes, it became the trend or even the "rule" to follow. Buleria and other fast rhythms they went ahead and cut compas often. Not clear explanation WHY, as I said it became the trend. And now the trend of half compas in Bulerias. If you understand letras as ABC lines of verse. The singer will give the cue for changing chords (and therefore cutting compas as we only change chords on the concept of 10 for answering a line of verse) in the A or B lines only. The C line of verse it is the GUITARIST that cuts it if he wants or not. It is the jerez trend for the guitarist to do that often. All that means is the guitar might Go Bb-A on 12-4 and then 6 becomes 12. It doesn't affect the cante at all because it is done there. Well, that is to say the repeat of B and C or the start of the next letra will be defined by what the guitar did, my point is it is not "chaos" or whatever if the guitarist chooses to do that OR fill it up with extra 6 beats of rasgueado on A chord...6 or 7-10. If you don't believe me or think there is something missing with my logic, just check Zambo with Moraito, and notice he deliberately cuts the C verse almost every time. He infact explains this as the jerez way in the ENCUENTRO vid as he demos with general 12 compas, C7-F counts 7-10, then Bb-A with no remate forcing a "half compas". He does this with Terremoto jr in the vid....if you check out their first CD "Cosa Natural" you notice he DOESN'T do that...he usually fills it up cuadrao to 10...proving it is up to the guitarist to do that for fun or not. This practice PDL picked up later (not on early cameron recordings, but later ones for example), probably from Cepero as he picked up lots of tricks from Cepero...and subsequent modern players also do this thing. Dont' get me started on R. Diaz when he came on and anounced that PDL invented this thing and got all bent when I showed the vid of Terremoto and Manuel Morao doing it every letra. LOL But back to the A or B lines of verse, that is different. That is where the guitarist must wait and listen to where the singer is taking him or her. Some singers only make use of the A verse extensively. Paquera was one who really loved to stretch out on the B line of verse, almost to crazy levels to where Parrilla sometimes just didn't even do C7-F cuz it was impossible to guess when she would resolve, and more important was to resolve that C line of verse. One more thing is you will notice in B lines of Verse for both Solea and Buleria some players in jerez such as Morao parrilla Cepero etc will switch the chords around F-C7. But rhythm and phrasing concepts are not affected.
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