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Ricardo -> RE: Cante: SOLEA Attn Norman (Feb. 18 2008 15:44:47)
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quote:
Don't know what you mean. First you argue modality then insert tonic into the discussion. Can you explain?
Sure, i will try. Tonic is the main note, your drone of a mode. So chords used in modal music, are not functioning harmony. They are just coloring the scale of the mode. To consider Solea "modal", you have to forgive that whole G7-C thing, and therefore it is easy to allow, NOT doing that at all, or just doing G7, or Even just F with the #11 etc, is fine. Modal tonic is the idea, and plenty of ways to make it work, where as in tonal harmony you must have V-I always to make meaning out of harmonies.
How about when it is allowed in A phrygian say, when the singer sings a D note, sometimes a D minor is played. Other times a guitarist may just hold on to Bb. Both are accepted because the thing is Modal. Any chord other than A almost works, that has a D in it. MOdality on guitar is like Tonic chord, then "some other chord from the chord scale" then back to tonic. Rhythm plays a big part in making it work out.
Modal vamps help to get a feel for how one can carefully introduce different "chords" into modal music that does not use an actual drone. Flamenco is VERY adventurous in this sense, meaning they do vamps in phrygian, but introduce RELATIVE tonal harmonies, then return to the vamps. In some cases you have modulatios to parallel major or minor keys. Very tricky to NOT make it sound tonal after all. A skilled guitarist might experiment with how far out into "tonal" territory he can go before coming back to the mode. Like Paco accompanying Duquende for example. The exact opposite would be V. Amigo Accomp Pele's Siguiriyas very modally. Meaning, he only play ONE chord the whole time...tonic.
About making a singer feel comfy being complex. Well, if it is complex to YOU the accomp, fine, but you must do it. I personally don't think it is so complex. For example, your meantion of PDL with Mairena and the way he adapted. Complex? Or the way Tomate plays for Zambo and the jerezanos vs El Potito. Hope you get my point. Yeah there is a difference, but how complex that might seem depends on how versed you are in different styles. For the accompanist, it should be fun to slip in and out of different styles. Tomatito is so type cast for his role with Camaron, and there the camaroneros want him. But hearing him play for Zambo is so refresing. Or pansequito for example.
Ricardo
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