Ricardo -> RE: Palos (Jan. 5 2010 15:39:43)
|
Well you are asking to fill in and help wit a huge list there. Would take all night to fill in and clearify details for your "dictionary" of palos there. I will give you a hand by just filling in for some of the ones you left blank. Bambera- a song that uses the compas of bulerias por solea, the thing to notice is how the song ends on the minor chord rather than the phrygian mode. Cantes de Levante/de la mina- the general term for the whole family of cantes that include Taranto, Taranta, Minera, Cartegenera, Fandango Minero, Levantica, etc....essentially these are structured like a fandangos, and almost always free of compas. Regarding baile, Taranto is usually the term used to describe the dance as a whole, which may or may not incorporate a number of cantes de levante....not just Taranto. The compas of 2/4 is imposed on those free cantes. It is always a challenge accompanying this baile for that reason, as each singer may interpret the time of the phrasing of the cante differently. In addition, many dancers incorporate more than the simple 2/4 beat, they may do Tientos type compas, or Tangos, even rumba at the end to speed up. Also, I have done choreographies that had bulerias compas, siguiriyas compas, fandango compas, etc....so rhythm is secondary to the songs and overall dance structure. In terms of guitar, the palo names refer often to the key you play in. Taranta will be free in F#, perhaps loose 3/4 like fandangos, noticed in tremolos and arps for instance. Taranto as a guitar solo will pay homage to dance structure and have a 2/4 compas generally. Minera will be free like Taranta, but in the key of G#. Never heard any other cante de la mina palos used as a term for a guitar solo. Fandanguillo- the term used to describe a fandango, if you are IN huelva. Whenever you are not it Huelva you call this "fandango de huelva"....a general term for any fandangos you might play/sing and keep compas. This is to contrast simply "fandangos" which may not use compas at all. The proper term for this is "fandango naturales" or "fandango personales", and usually based on a personal version or one by a famous cantaor from the past. For example "fandango de Niño de Gloria". A term also used for these free rhythm fandangos is "fandango grande". The fangangos from huelva each have a specific name, and man there are too many to mention here. There is an anthology of just fandangos de huelva I have seen, it has like 20 CD's![:D] Garrotin is a song that uses compas of rumba. It is usually danced, not much of a heavy cante or guitar feature, although some nice pieces have been done based on the form. Note Manolo Sanlucar and Rafael riqueni's versions... Jabera-a song similar to Verdiales, often used to end up a free malagueña cante if desired to go into compas. Liviana- a mountain song that is very lyrical (like malagueñas, verdiales etc) but uses the compas of siguiriyas. I personally put it in the same category as Serrana (same deal lyrical song with compas of siguiriyas) and also polo and Caña. Those two are also very lyrical songs that use compas of Solea. I personally don't see that just cuz they use those compases that the melodic part of the songs are related or evolved to present forms of siguiriyas/solea. I think the compas was imposed on the songs (similar to what baile did to taranto), but that is just my opinion. Interms of guitar, you would see a solo siguiriyas typcially por medio, and a solo "Serrana" in E phrygian, both with same compas and types of falsetas. Malagueñas and Granainas are evolved fandangos that probably had personal origins. Often singers will do both malagueñas and granaina or media granaina back to back, hence some confusion to which might be the proper term. Even media Granaina and Granaina got switched around thanks to bad record labels in the days of Chacon. In terms of guitar solos, Malaguena is done in E phrygian, and Granaina in B phrygian. Accompanying cante need not matter the key you play. R. Montoya played for Chacon in F# phrygian for some malaguena for example. Cantiñas are a family of songs from cadiz that include Alegrias, Romeras, Caracoles, Mirabra, Rosas etc. The key, again, need regarding arriba or por medio or C major, only matters to the range of the singer, not to define the aire of the song, as happens with cantes de la mina for example. You can have mirabra sung in C major or A major for example. Petenera- uses compas like Guajira but in minor key. Considered bad luck because a dancer died performing this. Don't play this for gitanos and don't ask them to play it for you! A famous song is Cafe de Chinitas by lorca. Rondeña- a verdiales type song like Jabera. Again could be used to end a Malagueña, same compas as verdiales. Rondeña- for guitar solo, a free style piece set to a special tuning as developed by Ramon Montoya, DADF#BE, but with tonal center C# phrygian. Not related to the cante at all in this sense, but Paco De lucia set this to compas of fandangos, so it is popular to think of it that way nowadays. As a tonal setting many guitarist have imposed any compas over this tuning, or used to accompany any cante that has the key of C# phrygian. (4 por medio or higher). Saeta-religious, christian, similar to call to prayer of arabic. related to tona and martinete, the precursors of siguiriyas and uses that compas if you must. Solea por buleria-now a days it is a dance or guitar piece, a fast solea or a slow bulerias, how ever you see it. There was never a cante called that though. In old days you had Solea de jerez as far as cante goes, and the guitar would play por medio and faster than normal solea, but slower than bulerias. That is just how they did solea in jerez. Also the cante "bulerias por solea" also called "bulerias pa escuchar", could get thrown in the mix. Guitar solos would just be "solea por medio". Again for cante or baile you could play por arriba but the tempo and aire give you the "solea por buleria". So simply put, you could use the terms "Solea", Solea por medio, bulerias por solea, to describe the same thing as "solea por bulerias". The earliest example of that term I have heard was on a sabicas record where he played Solea por medio then ended it with a fast bulerias. Since then it seems the term has stuck and describes dance and cante because of key and tempo/aire. Tanguillo is, like rumba, better thought of as 2/4, but with a triplet meter. 6/8 is a better concept for the rhythm. The feel can switch between the two, but the beat of 2 is kept solid. Zapateado would be like footwork for this rhythm (like in Alegrias you have the escobilla section of dance). As a guitar compostion, it is most often a straight 6/8 without the up beat accent that Tanguillo uses. Vicente Amgio contrasts these two palos, and the different feel of the rhythms on his album Vivencias Imaginadas, with a modern interpretation of course. But for understanding the relation of the two rhythms, that is a good example. Zorongo- specifically a song by Garcia lorca. It uses compas of bulerias.
|
|
|
|