Ricardo -> RE: any new (i.e., post-1960s) estilos? (Aug. 3 2020 22:14:28)
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I keep updating my classification method as I learn new things, but basically I see it as 4 groups of songs,each of which can be given one of 4 compas treatments based on tradition and taste. Song forms 1. Tona- martinete debla carcalera etc siguiriyas cabales, etc. 2. Romances/corridas- solea, buleria, buleria por solea, tangos, tientos, etc 3. fandangos-huelva, verdiales etc, malageñas (levante, fandango de lucena->Cante de La mina), naturales, fandango de cadiz (alegrias, Cantiñas buleria de cadiz etc) 4. Special songs- ida y vuelta, rumba, Tanguillo de cadiz, milonga, Farruca, serrania (polo Caña serrana liviana Etc), Bambera, p word, alborea. Alegria de Cordoba, pinini, Cuple and other “song” stuff with Flamenco compas treatment. Compas treatment: 1. Siguiriyas/martinete. .... 2. 12 count/ jaleo- ie solea buleria etc. 3. 2/4 or 6/8 count- tiento tango rumba tanguillo etc. 4. Abandolao/fandango- Sevillanas uses this but is not a Flamenco family song form. So examples: liviana is part of the mountain songs (Serrania) but is given the compas treatment of siguiriyas. Bambera gets the solea treatment. Vallejo liked to give his fandangos naturales the 12 count treatment. For a long time tanguillo de cadiz was a single song that used compas treatment of 6/8. Zapateado was related. However the modern players interpreted new songs, rumbas, etc with the tanguillo compas and the concept of song “form” stuck. Keep in mind, if you sing tangos or tientos with the 6/8 treatment of compas, you haven’t ventured far from the family. Same when you sing solea at buleria tempo. Taranto was a free cante de La Mina, until dancers gave it the 2/4 compas treatment similar to tientos. The guitar usually interprets all/most songs either por medio or por Arriba, and often their parallel major or minor keys. The cante levante and de La mina invoked other tonalities, and we associate the fandango based Forms by form name to their respective keys. Example por granaina (B phrygian or G maj/em) por minera (G# phrygian Emaj/c#m), por taranta (F#phrygian, Dmaj/bm) etc.
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