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Ricardo -> RE: Por medio, Por arriba, Por dios !!! (Jun. 1 2015 14:25:13)
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quote:
ORIGINAL: Dudnote
quote:
ORIGINAL: Ricardo
wow, super old necro post lol!
Here is some basics. Solfegio is used not letter notes, so a solfegio note will inform the KEY you are in for the singer, and a number will be the capo position. the other terms "por arriba por medio por levante por minera por granaina por rondeña etc, refer to PHRYGIAN keys. It is helpful to know this in advance of playing sevillanas or bulerias etc.
Examples:
Key of E major = Mi
Key of E minor = Mi menor
Key of E phrygian= por Arriba
Key of A major = La
Key of A minor= La menor
Key of A phrygian = por medio
one may note when playing, you use the same chords in "La menor" as you do in "por Arriba"....but you need to distinguish the two as KEY CENTERS.
Hope that helps.
So you are saying it is unconventional to hear "por ariba" and "por medio" when talking about guajiras or alegrias?
Just giving the key doesn't give any info about capo position / chord shapes. So what are the gitano terms for the following three common chord positions for alegrias?
E - B7
A - E7
C - G7
I'd have thought "por ariba", "por medio" and "por abajo" could describe the chord positions / shapes here despite the fact we're in major and not phrygian. i.e. you could play in E major with a capo at the 7th and say "E major por medio" to describe that.
In Guadeloupe the locals call bananas "figs" - who am I to tell them they are wrong?
respectively, Mi, La, and Do.
It's not wrong to say por arriba, por medio, and Do, instead, because the guitarist will understand, but it is not as common. Regarding capo at 7 (ain't gonna happen in practice for Alegrias amigo), they would say "al siete, en La".
To be clear, here is an example a singer told before a sevillana we never rehearsed,
"cinco por arriba, la primera en Mi menor, segunda y tercera por arriba, Mi-Fa, y al final en Mi mayor"....in that case it was a mix of different tonalities at the same capo position...all were in E as the root (absolute key of A with capo on), but to be clear about phrygian he added "mi-fa".
The point is to make it clear what will happen, to the guitarist. In case of buleria, if they sing in abolute key of C phrygian, they say "tres por medio" but they might change key in the middle. Guitar is expected to hear when things go to major key, but if it is minor key and the guitar doesn't catch the change, they might simply say "La Menor!". If they want to go back to phrygian and you are still playing minor key chords, they will just say "por medio, flamenco!". And of course if they intend on singing the entire buleria in minor they will say "La menor, al tres"... or something to that effect.
in my experience that is, and all the above is regarding a first time encounter with a singer you never played for. After that you are expected to get this stuff by ear (key changes I mean) and only need to know capo postion and key from the start.
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