turnermoran -> cante accomp question: Cada Vez Q Nos Miramos (Oct. 21 2015 23:26:08)
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Hello folks - couple questions regarding SpB and Solea accomp: 1) I was listening to Cada Vez Q Nos Miramos (Camaron/Paco). Based on the threads regarding SpB, where, if I remember correct, it was said that the distinction between Solea and SpB is mainly in the cante - is this one considered SpB? To my limited understanding, the toque says 'yes'. Though I know that toque part can be interchangeable to some extent. But I don't know the cantes well enough to get past that 2) in the first compás of the letra, to my ear Paco plays a IVmin chord (Dm in por medio in this case) on 10. Though the chord sounds a little ambiguous in context. In fact, it sounds more like Bbmaj with the open E lydian note to me. But the melody note Camaron sings is something that I would often place a Dm chord to, for better or worse. So.. is there something to the SbB melody where this melody and chord is very often the bII chord instead of the IVmin chord despite the melody that raises and makes me think we're going to IVmin? I hear it as different than the typical Alcalá melody that goes to IVmin, but in the moment I would probably treat it the same, not knowing any better. Is that wrong? 3), and speaking of wrong.. in the same letra, later, when Camaron goes to the cambio section, he has that resolution on 3 of the following compás. Again, being a newbie, in the moment, I would probably get tricked by this, and think the singer was doing a 1/2 compás. And attempt to play out the final 10-11-12 and strongly articulate a 1-2- 3! in the following compás.. Would it be a problem to do that, or is this Camaron trickery considered normal by now, and I should recognize it and continue in the 12 count? I know 1/2 compás is normal in bulerias, and does happen in Solea, but it seems less common in Solea. And maybe its "safer" to play in 12's in Solea? 4) finally, I was accompanying por baile, and the singer was singing quietly and not very well. Palo was SPB. We had our troubles... After, in an effort to correct these problems, she said she was using the standard Curro Frijones structure. (To which I said "who?" and she said "the guy that 'invented' SpB". Not sure if that's accurate or makes all of this of dubious.). Anyway, I see Norman has a whole bunch of Frijones melodies.. gotta check them out. But structurally, is there anything specific to this "Frijones structure" that's odd? My impression is that the Soleas, whether Solea or SpB are pretty consistent. What I'm doing now is: 1) listen for first melody and try and correctly play I to IVmin, I to bII, or sometimes, all I chord based on the singer. Then.. 2) does that repeat or not? (I usually listen for the letra to tell me what's up here) And if repeating, I assume (hope) the melody/harmony is the same, but maybe there's a surprise coming. then.. 3) assume the cambio is coming. (hopefully). Plan on the cambio going down between 6 & 10. And assume the cambio repeats. I suppose this corresponds to Norman's analysis using A B C D, etc.. (though I still figuring all though out,..) Yes, I know not to assume anything. But this is what I'm going on for Solea and SpB accomp, with hopes I can figure out variations in the moment. Usually unsuccessfully.. Anyway, will this work for this dancer's Frijones expectation? (And never mind Machos, Apolás and all that mess.. I'm just speaking of the basics) Any advice? Sorry for the mess of questions.
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