Richard Jernigan -> RE: What and where is the border of classical and flamenco ??? (Oct. 24 2019 18:44:22)
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ORIGINAL: etta Interesting stuff Ricardo. But, it seems to me that you cannot have flamenco in any practical, accepted form without a flamenco guitar. I've been interested in flamenco for quite a while. I still play guitar daily except Sunday. About half the time it's flamenco, the rest classical, often on alternating days. It's an important part of my life. But I can't remember the last time I listened to a solo flamenco guitar album. If I put on a CD to listen, it's cante. Yes, there is usually guitar accompaniment, but there's plenty of cante a palo seco. I think martinete, debla, etc. are unquestionably flamenco. But maybe they are not practical or accepted? Last month we went to Tablao Cordobés in Barcelona. The place was full. The show was almost entirely baile, very professional and polished. Paloma Fantova started off with a beautiful slow soleá. The rest was fast and loud. Very fast and very loud. There was guitar accompaniment, but you could hardly hear it over the taconeo. The audience were mainly foreign tourists like us. There was one young woman seated near us who seemed conscious of the compas. I thought maybe she was a young dancer, who came to see the money making pros. Each impressive athletic display got an enthusiastic round of applause from the packed house. There was one guitar piece by David Cerreduela, Tuto and Eugenio Santiago, who otherwise provided dance accompaniment. The main objectives of the guitar piece, with "modern" harmony and syncopated compas, seemed to be to get in as many notes as possible, as rapidly as possible. I found it boring. But I suppose it was flamenco. And it was practical and accepted: it got a big round of applause. RNJ
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