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Ricardo -> RE: What makes a palo? (Aug. 29 2007 18:55:31)
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quote:
Anyway, Ricardo, there has to be more to it than the cante, otherwise a guitar solo would never have a palo in the first place, no?
It is ok to do a solo for whatever palo, be it dance or guitar, but you must understand that that solo is based somehow on the cante. For example, you can play the same falsetas for Alegrias as Romeras when accompanying, but if you did a guitar solo and wanted to call it Romeras, then you must do something melodically that is a direct nod to the cante melody of Romeras. Otherwise you can just call your solo "Cantiñas" or "Alegrias".
A while back someone asked about why the "tientos" on Paco's latest was a tientos since it sounded like some modern rumba. Then someone pointed out the very first falseta paco plays is the melody line for a typical Tientos. It is subtle, but important to understand that the form or "palo" is defined by the cante, that being the melody, rhythm and harmony if there is any.
So some forms are commonly danced solo, Farruca, Martinete, even I have seen siguiriyas on Spanish TV with only guitar falsetas accompanyment. But does not take away from the fact the solos are based on cante forms.
Two exceptions noted above. "Zapateado" is a form for baile or guitar that is based on the Tanguillo rhythm. So like the instrumental music that goes to the footwork of Tanguillo (a song from cadiz that is sung). Likewise, an escobilla has a music form all its own based on the rhythm of the baile. I would put Zapateado and escobilla into the same category, meaning they are not palos on their own. The are part of a bigger umbrella that is the "palo". Notice on Vicente's 2nd album he has Tanguillo track 6 then Zapateado track 7. Important distinction in the rhythm, though the two forms are related. And he has made is own kind of "cante" to go with Zapateado that is not traditional by any stretch. But that is the artistic liscense of modern guitarists making innovative new recordings.
OK the other was "Rondeñas" for guitar solo, which has nada to do with the original cante, but is based on the literal song TITLE for Ramon Montoya's famous composition. So that is really the only "palo" for guitar, and it really nothing more than a special tuning, key, and overall "vibe". Of course modern players again try to use this "vibe" to accompany cante, and it could be any cante in phrygian. You can accompany por solea or fandango, bulerias, etc in this tuning/key, but the form is defined once again by the cante, not the guitar tunning. That would just be called "Solea" or "fandango", only the guitar players need to care about the tuning.
Paco and Camaron tried to make their own palo by fusing a fandango or abandolao beat with the special Rondeña tuning (Canastera). Sort of like bringing the old cante Rondena and the separate guitar form back together. It never really became a separate palo IMO, just a special song that others interpret exactly the same as they did.
Ricardo
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