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Phil -> RE: Group Tangos posted (Sep. 27 2003 19:56:14)
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Tom said, quote:
I learned a great Soleares in A phrygian from Mariano Cordoba, a key that was in common usage about one hundred years ago. Nothing remains the same!
In Mariano's instructional book, "A Folksinger's Guide to Flamenco Guitar," he says the same thing. That is, that "A" phrygian (por medoi) was the old of playing Soleas. Well, I naturally took that as gospel and was thoroughly confused when I kept hearing Soleas (not Bulerias por Soleas) played in "A". A couple of examples that come to mind are Morao accompanying Terremoto and Paco del Gastor accompanying Fernanda de Utrera por medio on CD's that I have. I found out when I moved back to Spain that Solea is routinely played both ways when accompanying singers. Once you get up to the 7th fret with the cejilla it's just easier to play por medio at the 2nd fret. Also some guitarists simply don't like the way the guitar sounds with the cejilla at the 7th fret or higher. So a Solea can be played "por arriba" or "por medio" depending on the singer's comfort range. Estela pointed out once that most women singers are usually within their range with the cejilla on the 2-4 fret por medio, which would mean the 7-9 fret "por arriba". I don't know where Mariano Cordoba came up with that explanation, but it doesn't seem to be in keeping with the facts. However, I've come to realize that things like this are often passed on without question and that the originator often meant something else, was misquoted, was mis-translated), or just misunderstood. He might have been referring specifically to solo concert style playing, for example. Who knows?
Phil
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