NormanKliman -> RE: solea por buleria (Dec. 25 2007 23:27:39)
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My question is why one is considered 'larga' and the other çorta?' Is it melody only? Yes, but, in general terms, melodies are often sung in certain patterns that heighten the overall effect, and the finer points of the patterns are determined by the letra, so it's all relative. But the attributions have more to do with the melodies than anything else. I get a big kick out of the whole attribution game, but it has little to do with the process of creation, execution and appreciation of art. Like Ricardo said, it's all just beautiful music. Closer adherence to classic forms can be a beautiful thing in its own way, and it can also provide great potential for appreciation, but, as a listener, I'm more impressed by the delivery: conviction, commitment, sincerity, etc., and of course musicianship. But that'd be better addressed in another thread. So, back to our analytical approach: Obviously, if the classic melody is distributed in an entirely different way, it might sound so different that it wouldn't make sense to classify it the same way, but then again it wouldn't be the same melody. Also, when singers use bits and pieces of different cantes, it's not easy to say what's what. As I've said, in that second cante of Camarón, he used the bulería larga to introduce something entirely different. After the first line, the differences outweigh the similarities and it wouldn't make sense to call it a bulería larga. The track titles of Mairena's bulerías cortas are "A quién le contaré yo" and "Cuando pasas," recorded on the albums "La gran historia del cante gitano andaluz" in 1966 and "Honores a la Niña de los Peines" in 1969. I think the classification "bulerías cortas" that Mairena assigned these tracks refers to a way of interpreting bulerías rather than designating any specifc cante. There are several different bulerías on each track but the classification refers to the entire track. I don't know much about this use of the term "bulería corta" but it might have been something that people used to say when the recordings were made. I haven't heard anyone but die-hard mairenistas use the expression, but flamenco's a hell of a lot bigger than my scope of experience, so I'll keep an eye out for any information on this. Using "disk-track" nomenclature in reference to the 16-CD anthology, these two tracks could be referred to as Mairena 7-5 and 9-8, respectively. Sounds unsettlingly similar to quoting scripture. [;)] On the first track (7-5), he doesn't sing the bulería corta. But check out the second bulería (Que cantara y no llorara): it's a double-time version of the soleá Joaquín el de La Paula 2 (for example, "Dices que te vas a casar," which is the second cante on 15-3). Another example of how bulerías "borrows" other melodies. The second track (9-8) starts with three soleás of La Jilica: "Cuando pasas...," "Mal fin tenga..." and "Primita llévame..." The fourth and sixth cantes, "La verdad me da coraje" and "Si no te vienes conmigo," are the bulería corta that we've been discussing. As long as we're on the subject of Antonio Mairena, you've probably noticed that there are a number of his recordings that use complete right-left separation of voice and guitar. There are a number of ways that aspiring accompanists can study the singing without the guitar: re-recording the track, changing the balance, disconnecting the speaker, etc. Too much fun for a wild and crazy guy like me. [;)] quote:
where did you get the "1,2,3,4" numerations for the different melodies?? "me llamo curro frijones..." Etc, is that number...2? Yeah, that letra is usually sung as Frijones 2. As I've pointed out on my website, this whole system of classification is the work of Luis and Ramón Soler as laid out in their books, "Antonio Mairena en el mundo de la siguiriya y la soleá" (1992) and "Los cantes de Antonio Mairena" (2004). My siguiriya and soleá webpages are entirely based on the information in these books, although I've corrected a number of mistakes after checking with the authors, and I've added some observations of my own. Some flamencologists use different names for the same cantes (Yllanda, Lacherna, etc.), so this system isn't the last word, at least not for those who insist on having the last word, haha!
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