Ricardo -> RE: Falseta vs Llamada (Dec. 6 2019 13:59:50)
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ORIGINAL: mark indigo quote:
My conclusion is llamada is any short phrase that is played just before the singer starts singing. It's not "any" sort of phrase, they are actually quite specific phrases, and any "improvisation" referred to by Worms is only in the details or ornaments of the phrase, or choice of which version of the specific phrase. They let the singer know that the guitar falseta has concluded and it's time for them to sing. The singer will recognise those specific phrases and take their cue. In the baile, the dancers llamada is doing the same thing, calling the singer to sing after the entrada, falseta or escobilla, and the guitar's accompaniment to that is recognised (and can be used the same way in cante accompaniment or solo) as much as the dancers movements and footwork. Piwin post was great nothing to add except yes temple and ayeo are interchangeable terms, the other most often used is “salida”. About improvise llamada.... I get what he means. I always improvise the llamada for dance in the sense that I can make up accents and rasgueado and my own rueda of chords however I want so long as we rematar together. The better I know the choreography the more adventurous I may get with my version of the llamada. The less I know the dancer the more conservative I will be with my chords and accents. I agree “any sort of phrase” is not correct, it’s always a rhythmic statement, even if it is not only strumming techniques used. Falsetas are typically set in stone, so that’s what Worms probably meant. I must admit that those of us who don’t like editing our nice perfect falsetas to better fit a choreography more often opt to improvise or at least compose on the fly, a falseta that fits the dance structure perfectly. I call those “BS program falsetas” lol
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