|
Ricardo -> RE: What and where is the border of classical and flamenco ??? (Nov. 2 2019 14:23:11)
|
quote:
Futhermore we can only hear conjectured interpretations of early 18th century notated pieces like Santiago de Murcia, Boccherini, Scarlatti, et al. However we can accurately analyze the harmony and meter of these examples.
Exactly. These pieces are basically repeating the progression i-VI-iv-V, over and over, and nothing in flamenco does such a specific thing. Tangos comes closest with VI-VII-iv-V repeating, but it’s not all the time. One could argue that the two measure see-saw of a secondary harmony that resolves to the V chord, and the fact some, not all, of the baroque Fandangos end the final chord on V not i, as an early influence on all the flamenco forms in terms of how the guitar makes compas statements. Also I doubt any of the baroque composers invented that idea, but rather are borrowing it from the popular or folk music practice. But the thing that really interests Bruné and myself would be more about the actual music when it gets going, meaning the cante and it’s accompaniment. The only one I noticed so far that goes anywhere musically is the Soler fandango that does V7/VI->VI for several phrases. This would be the equivalent of a Fandango de Huelva that only does the opening compas, then the second line of the copla, and that’s the whole form[:D]. It’s not a stretch to imagine those baroque composers were trying to do a fandango proper but missing out on the structure and just groping at the superficialities.... not unlike ALL the fakemenco of today! [:D]
|
|
|
|
