So I have often said that Siguiriyas cante accompaniment, unlike Solea and Fandango that have harmonic “cambios” or changes that harmonize the melody, was more “modal” or drone like. What I mean is we keep cycling the same chord progression and rhythmic marking under the traditional melody, regardless of how the cantaor delivers it. We punctuate the letra breaks with llamadas, or rolling rasgueados on the tonic chord, normally A major. For most letras that means the short verse is delivered 2x, we do a llamada or brief falseta phrase, then the long line is delivered, the short line repeated and we conclude the letra with another llamada. Along the way there are both harmonizations of the melody and also some tension ... regardless we don’t really need to couple any of the tonos with a specific note the singer sings for most of the styles.
There are some exceptions such as the style that the singer does a dramatic resolve to C major in the middle and we do a llamada on C major, then back to business. Also the “machos” that go up to F or D minor at the start, then again back to the normal progression. And finally the “Cabales” styles that go to the parallel major key...however here we really do the same type of thing using V-I repeating...basically replacing the Bb chord with the E7 chord but accompanying the melody basically the same way by repeating the cycle.
But going back to the earlier major styles I was describing, I had noticed long ago that Gerardo Nuñez used a “cambio” for the conclusion of the short line of verse that was similar to what is done in the Solea, Buleria, Tientos/Tangos, etc....that being the V-I in the relative major key....in por medio that would be C7-F. It seemed to serve the same exact purpose musically despite the fact the compas and verse structure is different. Basically a set up for the conclusion. Having not ever been told to do this, I felt it was a bit innovative at the time, again, perhaps being something used for baile to “square up” the letras to fit choreography better. Here 3x in the same letra at 3:50, 4:25, and 4:43
So, most version the similar derived letras to that one above are accompanied with the same progression over and over as I described. A couple years back a singer requested that I do the LAST cambio only (as 4:43 occurs) and of course I was familiar with it but was surprised it was “required”...again it was for dancers so it was definitely helping everybody stay on the same page compas wise. I assumed at the time this was a “new trend”. The recent show I did the same situation came up, this time the guitarist wanted to do all 3 cambios as Gerardo does above, and the singer was a little disturbed. We ended up omitting the one that is like 4:25 but using the other two.
It got me thinking about how “old” was this type of cambio and a short dig I came up with this from 1929 (Mojama and Montoya): At 3:09 Right on F no C chord....
And here at 3:20, Bb-F-C7, a reverse cambio (EDIT: at 2:53 too!!!)
Obviously this thing has been done for a long time, but I just didn’t notice it as that important. Any even older examples would be welcome. I am hearing it on Norman’s examples in Viejo de la isla Pastora and others sometimes. It is hard to notice on those old recordings. Niño de Cabra has G7-C instead. Also, the same or similar structured letra seems to be only one this works with....for example the Manuel Molina/Manuel Torre style that comes in on the sustained D note doesn’t have room for this cambio really. But I am welcome to check any known examples if people have come across this thing.
Not earlier, and not cante, but maybe of interest?
Ramon Montoya, solo in 1936. He goes directly to F at 0:13, then to C at about 0:31, hits C9 for a little "modern" harmony around 0:36, finally gets back to Andaluz cadence por medio at about 0:47.
There are other departures from repetitive Andaluz cadence further along.
Not earlier, and not cante, but maybe of interest?
Ramon Montoya, solo in 1936. He goes directly to F at 0:13, then to C at about 0:31, hits C9 for a little "modern" harmony around 0:36, finally gets back to Andaluz cadence por medio at about 0:47.
There are other departures from repetitive Andaluz cadence further along.
RNJ
Thanks! Of course those extensive colorful falsetas jump out more clearly. The thing I am after with the cante is very very subtle...and of course, unlike the similar cambio in Solea, it seems to be acceptable to “skip it” altogether. But now that I am all focused on it, my ear is hearing it “touched” on in dozens of the recordings on Norman’s site. I have to listen two or three times to be sure it is even there because the audio is so poor...and it is funny how things like the reverse cambio montoya did for mojama in the second example are like doing the change but jumping off of it like a hot coal as fast as possible![:D] And now I hear the earlier F-C7 move at 2:53 too! For sure they want a “cadence” or resolution to occur there but at the same time don’t want it to sound “happy major key” as much as possible.
I quite often see stuff on here that's interesting but I have nothing to add, so don't... I guess that can look to the OP like no-one is interested, but not necessarily.
I’ve seen and heard this played many times, both live and on recordings. Several years ago Miguel Funi came to came to California with David Serva, they came twice in two separate years. The first year Funi sang por Siguiriya a lot, he was in a groove, and David played very detailed changes. The Cambio to Bd F C seems as natural to me as the break into major with E7-
In the E7 cambio, it’s interesting because ( my own discovery) you can turn it inside out and move it into Guajiras and back which is even more weird and somewhat stupid.
