Ricardo -> RE: early history of rondeñas (Mar. 28 2015 18:59:57)
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ORIGINAL: Steelhead My goodness, my original query certainly seems to have gotten ppl going. The articles by Rioja are excellent regarding Arcas, Murciano, and the evolution of proto-flamenco guitar in the mid-1800s. This recently unearthed score of Murciano would seem to represent an earlier style, since he died in 1848. BTW, it contains tremolo, illustrating that tremolo was established by then, and that proto-flamenco guitar playing was not just strumming and pulgar. There was clear interaction between unlettered guitarists like Murciano and classical professionals like Arcas. Meanwhile, there is no need to be ‘agnostic’ about the early history of flamenco, as Rioja, Steingress, Gamboa, and other Spanish scholars have unearthed a lot of information, including about its coalescence, by that name, around the 1860s. Many useful historical references have been found, not to mention the 1860s guitar scores of Arcas and now this earlier one. Scholars have also established that from the earliest period of ‘flamenco’ as a genre by that name, it was performed in public cafes cantantes, by professionals, for paying audiences, and it evolved in precisely that context, typically with guitar accompaniment. It is a myth that it was originally cante a palo seco, and guitar somehow came later. (Not to mention early 1600s references such as “La Gitanilla” by Cervantes to gypsy singers being accompanied by vihuela or whatever it was, I’ll have to check the reference.) Actually, what I still don’t well understand is the relation of Ramon Montoya’s ‘rondeña’ to any extant earlier entity by that name. Unless someone persuades me otherwise, I am inclined to think that his “rondeña” had absolutely nothing in common with any earlier rondeñas. interesting points regarding murciano...once again I restate CAN WE SEE THE (expletive) SCORE?????? proto flamenco not being so simple I want to agree with as I have stated earlier. About Montoya...if that is what's buggng you we have discussed this in the past. I concur that so far evidence shows it to be uniquely his creation as a natural extension of exploring the new "levante" keys...he would use granaina tono and taranta tonos for many cantes we dont' use them for today...such as cartagenera, malagueñas, etc....and his rondeña as famously recorded uses a "levantica" type melody at one point....but why he CALLED it rondeña is anybody's guess. As discussed the tuning is not so unique as it's usage (low D very common and the F# from lute music..but LYDIAN explorations are very Indian IMO). Norman Kliman pointed out that Montoya used the tono and tuning to accompany cante but I can't recall what that was exactly. (EDIT: it was Taranta for a female singer). pay attention to Norman's posts here: http://www.foroflamenco.com/tm.asp?m=140827&appid=&p=&mpage=1&key=montoya%2Cronde%E3%B1a&tmode=&smode=&s=#140897 Ricardo
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