Ricardo -> RE: Solo Compas Albums (May 25 2007 16:41:27)
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If I write material that has the pattern 2/4, starting on twelve then 3/4, 4/4 and then 3/4 then that is the sense of the music. Perhaps you meant starting on one???? If not, then that really doesn't make sense to me. So if you DID mean start on count one, then your odd meter represents: 1,2=2/4 bar, where you accent one. 3,4,5=3/4, so count 3 as the accent. 6,7,8,9=4/4 so you have 6 as a down beat, 8 is the secondary beat. Then 10,11,12=3/4. So only 10 has the emphasis. I see how that works at expressing the accents. But I think it is also important to not lose sight of the underyling feeling, even though the sound outside is achieved. It is important, IMO, regardless of the type of pattern or feel the Alegrias is taking on, whether you are doing escobilla, guitar solo falsetas, or accompanying cante, to understand the phrases starting on one are felt like pick up notes, not down beat notes. They lead into the count 3 accent. Often they start on the "&" of one, again show how much more important count 3 is. Sometimes in bulerias you have the same feeling starting from the 10 going to 12, sometimes like alegrias bulerias does the same 1-3. But the reference is the DOWN beat which WAS 12. Often you hear that expressed as a golpe before a falseta or a rasgueado intro, or even a llamada. Even if there is silence, you still must feel that rhyhmic point. So I think you could just as well express starting from 12, as 3/4 for 12,1,2, although you can have a rest or golpe on the down beat, then I will accept your 4/4 for 6-9, but on 10, it should be 2/4, so you can really feel the down beat even thought it might again be just a golpe. For me all the rhythmic feel can glue together with 3's or 2's very simply, rather than have to deal with alternating meters. For example, the guitar can do a similar remate as fandangos with the rasgueados, meaning count 9 has an emphasis because the rasgueado begins there. 10 can seem like a second beat close like in Fandango I mean. Also, the bulerias feel can overlay, obviously. To me, the way the music is tradtionally written seems to express escobilla type rhythms you would feel in Solea. To me, that rhythm is closely related to jaleo and bulerias, and when working with dancers, we in variabley end up going in that direction anyway. But to use it for all that is Solea/alegrias/bulerias??? At least mathematically the way they do, it is not right. Anyway, I agree two people can feel it their own way and it still works out and sounds good. The thing I think is important though, most of the time, is that count 12. [;)] Ricardo
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