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Ricardo -> RE: José Millán: fandangos de Macandé y la Gloria (Aug. 10 2021 18:11:29)
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quote:
ORIGINAL: mecmachin
quote:
how he should meter el cante en el compás
HOW?
For baile the guitar is often constructing a set chart of chords for the sections of dance where the letras go (except in super rare cases where the dancer improvises), a singer could conceivably sing to a pre-recorded guitar track like karaoke with no harm to the baile structure. This leads to a false impression that there is a set correct way in which the melodies lay in the chord chart.
The more traditional approach to singing is to let the melody uncouple from the chart and sometimes resolve later, as if the melody drags across the bar lines, yet the guitar maintains the rhythm while allowing the cadential chords to fall at different times than would have been in the baile chart scenario. Sometimes delayed resolutions result in extra compases generated, and other times the delay is made up for in the next half-compas.
Nowadays the second method is a dying art. I was forced to do an amalgam several times for younger singers from Spain, who pretend to stretch the compas of Soleá and I must slow way down then speed back up, as if the singers have decided to re-couple the melody to the specific chart of the baile example, such that when they slow the melody I have to stop compas and wait or adjust tempo, maintaining the set chart structure until the drama is over then resume the original tempo.
While I have noted that last example used occasionally by camaron and Tomatito in tangos and bulerias (even where palmeros had to join the “fun”), doing this for Soleá negates the whole art described by example 2. Opinions and trends will vary.
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