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Kevin -> RE: Flamenco Compas help needed (Apr. 17 2015 19:35:49)
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Dancers are NOT MUSICIANS... Yeah, in the same way that percussionists are not musicians. [:D] There is a large body of scholarship that sees dance as an extension of music even where there is not percussive phenomena. But, point taken.
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but the appropriate way to notate those counts on music paper, in 3/4, with proper feeing is
(rest) & 2 & 3 & /1 & 2 & 3 & /1...
The proper way to notate it is to notate it however the hell you think most appropriate (within reason). Then, note why you have made that editorial decision. Then wait for other people to adopt your way, or not. Some will follow your way, others, maybe not. I'ts not a competition There are many different ways. Worms, Faucher, Hurtado, Fernandez, Herrero; all differ in many ways.
Does the "rest" correspond to 12? What does the first "&" correspond to?
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What we see more often IN PRACTICE, is transcribing bulerias AS IF IT IS A FAST SOLEA..and this is misspresenting the fundamental feeling behind the rhythm despite being mathematically "correct" and correlating to dancer's counting. Later this is misleadingly taught to beginners as the BASIS of the rhythmic feeling which leads to confusion when the first "half compas" situation is encountered.
With all due respect, I agree with the last part about half compas. However, other than that, your conclusion is historically and musicologically uninformed.
It all has to do with perception. It would be too long of a discussion for here but the reasons for notating the solea and bulerias differently has to do with harmonic accents.
In bulerias, harmonic accents generally tend to follow the compas accents. Not so in solea.
In solea there is a secondary rhythmic level, call it 1-4-7-10. This is the harmonic level and many falsetas follow this form. We can actually say that most of the time we perceive a solea falseta to resolve (sometimes end) on 10, then with the cierre from 10-12 it really ends on 12. That is how we perceive it because that cierre, usually an arpegio figure, but sometimes scalar, propels us to the 12. It is so climactic in some instances, that guitarists just breathe on 1-2 and come in on 3.
In the bulerias the cierre leads to 10, and even where some figure takes us to 12, the twelve is not perceived as the end of the compas.
It's a lose/lose. The BEST way to notate solea???
Maybe, 3/4 beginning on what we traditionally count as 1. The best way to notate bulerias is also in 3/4 but "12" is the first beat in the measure.
In the end, these are all roadmaps to help people and some are better in some ways (faulty in others) while others are better in other ways (but still faulty). The way to reduce confusion and miscomunication it is to be more meticulously descriptive in notes, and in/with the score itself.
Edit: I agree With your point about notating the buleria the same as the solea being problematic. But the only wrong way is the way that no one benefits from. Many benefit from Worms (and Herrero), who both often do that.
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