Steelhead -> RE: Dropping 6 in bulerias (Again?!? Boring!!) (Aug. 5 2020 21:57:28)
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Aha, thanks, now I see it there, the zero business. (I presume that is Norman's term.) Trying to get a handle on these estilos. I know staff notation is only for nerds like me, but that would make things so much more clear. Then one could point out, for example, the structural melodic elements in a given estilo, as opposed to the variable ones. E.g., it seems to me that the typical bulería corta goes roughly: d-d-e-d-C#-d… (guitar briefly to Dmin, then down), vs bulerías larga, more typically a-c-d-e-d-c-Bb-a…(up and down, guitar stays on A-Bb-A…). Or is that just some of them? Then trying to get a feel for the jaleos extremeños, which some of you discussed on this forum a while back. Corto and largo again. I have two books (by Lopez Godoy, and Lozano), which, like the Solers, give verbal descriptions and references to records, but if you can’t find the records, the verbal descriptions are pretty useless. Need someone like Norman to assemble them on a website. Or hire some music student to transcribe the passages. Lozano gives vague descriptions of six types, Godoy gives some, then they talk about these “cadencias” –recalcada, parada, de los Verdinos, de Porrina. But their vague descriptions would only make sense to someone who knows everything already, not a poor wretch like me. What are these "cadencias"? I do hear one very distinctive jaleo extremeño: melody to F, over F guitar chord, then down to C, with C chord, then over that chord melody ascending C-D-Eb [no one told them that note doesn't fit] -F -maybe G, then back down to Bb... Must be one of Lozano's "types."
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