Romerito -> RE: Help w/Identifying a Recording (Aug. 25 2023 19:52:13)
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quote:
What I was saying earlier was he was not “moving” there, which means to me either tonicization or modulation, take your pick. I pick that "moving there" is neither tonicization or modulation. Otherwise, why not just use one of those concepts? But, since you brought it up modulation encompasses tonicization but tonicization does not encompass modulation. Both treat a chord as a temporary tonal center, but modulation expands the chord as a tonal center. Tonicization can move on immediately without expansion. So, every example fits under a broad reading of tonicization. And every example implies either lydian, phrygian, especially in the notes immediately before the resolutions. quote:
I think it is interesting the dates of Ricardo’s examples are later than Aguilera, however, because it is his style, and he certainly has older recordings going way back, I suspect that you will find Ricardo has an older version hiding somewhere yet to be found. I know a few falsetas that begin in phrygian and sound like solea until their resolution to major. I suspect that broader expansions did not occur until Paco, although the pillars and old guys often surprise me. I am sure Ricardo has a version because I am sure I had an example. I just cannot find it. Ahhh, empiricism... quote:
PS, love Cepero breaks the compas in half in your example. Interesting you brought that up because, before flamenco compas got codified in 12s, a full idea, an antecedent phrase, could be realized in six beats. That is exactly what happens in all of the examples.
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