Ricardo -> RE: All the Solea (Apr. 1 2016 17:31:41)
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ORIGINAL: BAFF I would like to participate in this discussion about cante por soleá. I haven't posted in this forum for years but I do still sing a bit of soleá from time to time. The video estebanana posted with Terremoto and Manuel Morao is a classic of Jerez style soleá where they are actually doing what folks outside of Jerez would probably call "soleá por bulerías" and which in Jerez is sometimes called "bulerías pa' escuchar." Another observation is that classic cante gitano, even when accompanied by guitar, does not usually have the oppressively square metronome compás that a lot people consider gospel. If I have time, I'll post the lyrics later. IMO, there are 3 ways to look at compas for cante accompaniment (Solea specifically, but we can generalize with some other forms). 1. Metronomic (steady tempo) plow through, let the cante lie loosely over the structure and catch tonos on 3 or 10 as they might come. That is most puro old school way to do it, practically dead now. Morao is doing this for Terremoto as would Montoya Ricardo Melchor etc. 2. Square box perfect fit melody to fit the BAILE. This is most common I see since the 70's. Guitar could almost pre record tonos or ignore the singer with this mind set and it all works out. 3. Elastic compas/moving tempo, which allows (forces IMO) to fit what was once the loose melody graft, INTO the box concept of number 2. A good guitarist will have to decide which of the 3 situations above he/she is dealing with and do the appropriate thing or take flack for it. About the Terremoto Morao vid....let me go from general to specific of what I am seeing. 1. Solea por buleria. 2. Two Jerezanos representing Solea de Jerez. 3. A mix of solea styles and bulerias, set to a relatively fast Solea por medio guitar accompaniment. 4. Some Solea from Utrera and Triana interpreted in that special Jerezano way, peppered by a couple buleria cortas. 5. Ok time for specifics. First letra la Serneta 1, interpreted more like the connective flowing Manuel Torre way. 2nd letra is buleria corta. 3rd is serneta 6 but with that Frijones 2 high note (7th degree, it's normally only up to the 6th) at the start. 4th, another buleria corta 5th is La Andonda 1, again with that frijones high note delver to start. 6th remate por buleria major key. Important to note the driving metronomic compas forcing Morao to deal with half compas remates often (resolve at count 3 instead of 10), yet no break of 12 beat cycle, and delvering every cambio in reverse (F-C7 instead of C7-F). We could get more specific with lines of verse and strumming techniques and even those cool pulgar falsetas. I will leave it at the first lyric for the Serneta I have heard both Zambo (on Tomatito's solo guitar album Paseos de los castaños) and his "student" poveda (with Chicuelo qwwali and live video with Duquende) deliver that lyric por buleria. Good example how the buleria and Solea are related structurally. Ricardo
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