Mark2 -> RE: Taranta (Jul. 6 2023 17:57:15)
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I think that those maestros have accompanied the cante of those forms and learned the traditional ornaments played between the sung lines so much that they naturally are able to expand upon those ideas to create those compositions. I would also have trouble drawing a straight line from the tradition to those pieces, but I don't have 20 years of playing for singers doing tarantas. I have been recently studying playing for some libre forms and am learning some traditional and modern ornaments that have had no relevance in my involvement in flamenco before, because I've never had the opportunity to play for people singing libre forms. The limited experience I have is playing for cante used to support dancers. It hasn't magically made me able to create a solo but it has opened the door to a much deeper understanding not only of the cante but what defines those forms on the guitar. quote:
ORIGINAL: machopicasso quote:
Decoupling the cante form from the guitar to make a solo instrumental is in questionable taste, and the huge reason people like Morante send constant reminders about the importance of the cante, as it is the basis of the FORMAL STRUCTURE of the palos…all of them, with possible exception the Rondeña (although we can say it is an alternative to Taranto/Minera etc, ie, a cante minero form). I'm not trying to decouple something that's coupled, so to speak. Rather, as I mentioned in reply to orsonw, I'm not clear how, or even that, modern tarantas, like "Tio Sabas," "Callejon de la Luna," or Antonio's "Recuerdos" are constrained compositionally by the formal structure of the taranta cante. I was assuming that the modern guitar tarantas grew out of a tradition that was dominated by the cante, and that there are echoes of the latter in the former. But that the modern tarantas are based on the formal structure of the cante isn't clear to me. (I'm not denying that they are, if they are; I just wasn't aware of it). quote:
The other thing is the dissonant chord that is uses as tonic in Taranta (F# yes, but with dissonant open strings heard against) is not coming from pure old traditions. The true tonic chord F# was always played as a stable triad. Perhaps N> Ricardo or someone let a final chord ring with dissonance, but even PDL did not start doing that right away. Then even things like Solea started allowing that dissonant chord to ring as a final resolved chord, first one I know of that was not a stable triad was Vicente amigo 1991!!!. So, question: Is there an implicit norm or rule such that taranta for solo guitar always must use F# as the tonic (with or without dissonant strings)? I was assuming the answer was: 'Not necessarily, but tarantas typically use F# as the tonic, and any taranta that departs from that should be in dialogue with the tradition.' Originally, I was thinking that, just as Gerardo recorded a Solea in the Rondeña tuning ("Soleá de la Luna Coja"), that one could create a taranta whose tonic was something other than F#. But if that's not right, then let me know!
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