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Ricardo -> RE: Compas/llamada/letra/escobilla/copla (Apr. 29 2006 17:12:08)
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As applied to dance accompaniment:
Compas-play rhythm guitar, give the tempo feel etc., no falsetas (melodies), just chordal strumming.
Entrada-introduction. Can be compas (rhythmic strumming), falseta, singer's warm up (tiritir tran, le le, ay ay, etc) or any number of prepared intros, free or rhythmic.
Llamada-call or signal a change of sections. It is a specific rhythmic signal the dancer gives to everyone, it is nice to play a special sequence of chords that helps the change sound natural. It can be to call in the singer for the letra. A change of section could be there will be a rhythmic stop (remate/corte) or a change of tempo. Sometimes you are changing speed or "gears" during the llamada, and that is the point of it. Sometimes the llamada precedes a build up, speed up, footworks step, and usually an other llamada will end such a build up.
Letra-the verse of cante, like solea, siguiriyas, tientos, tangos, bulerias, alegrias, etc.
Copla-the verse of cante for the not so deep flamenco palo, like sevillanas or fandango de huelva.
Escobilla- the footwork section of the dance. The name comes from the "sweeping" motion of some dance steps, but it applies to any extended footwork.
Apagado- playing rhythm or "drumming" on muted strings to give percussion. You would use this also for "palo seco" (acapella singing) and sometimes "solo de pies" (footwork solo with no music). During a solo de pies I might play llamadas, remates, cortes, etc, with chords and rhythm, then return to "apagado" strumming. Some dancers don't use the term apagado and say instead "palo seco" or something "seca", and other terms that make sense refering to a "dry" muted guitar.
Lots more stuff, do a search for "flamenco terminology". Don't you have any flamenco related books? There is usually a glossary.
Ricardo
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