NormanKliman -> RE: Solea--Norman (Mar. 12 2008 21:38:53)
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Hi Romerito, I haven't heard anyone talk about that Diego Clavel recording, but that doesn't mean anything. quote:
Talega sings straight through with no repeats. Yeah, that was way back at the beginning of his recording career, when he was 71 years old. Even if he is boiling it down to its essence due to waning faculties, it's a helluva job. They say that Torre sang some things the way he did as a result of his reduced lungpower. It's like those old guys from Okinawa that knew about nerve centers. It seems that they learned about these things through necessity. quote:
So I take it some cantes must retain their structure to be classified as that particular cante while others are more open to improvising on the form. That doesn't sound unreasonable to me, except for the word "must." I offered a few examples in my last message, although Paquirri 3 might not be the best example. quote:
In this case, if the first tqo lines are repeated, are they done so A-B-B-B or is A-B-A-B an option. Repeating the second line of verse is a popular format. For the last few days, I've been trying to go over all the examples of this style (Juan Talega) that are included in the Soler's green book (sig/sol). I still can't seem to find the time, but I did have a look at a number of examples and they all repeat the second line of verse. I'll see what I can find and will let you know. In any case, anyone can sing anything they like. Very few singers are worried about rules and adherence to classic form, or maybe I should say that most singers are a little more interested in trying to do something original. Who wouldn't be? As listeners, we're more interested in detecting patterns and establishing rules. Another matter entirely is how well things work one way or another. In the case of this style, for example, repeating the second line of verse breaks things up a bit, because lines A and B are sung with two different melodies, but in the repeat the first melody is sung using different words. That breaks up the monotony. Another example (and a different situation) is Joaquín 4, which you asked about not too long ago (Joselero's version). That'd normally be a three-line soleá: A-A-B-C. I suggested that maybe Joselero sings it differently because he used four-line verse for that version, because repeating the same melody with a different line of verse sounds funny. That seems to contradict what I've just said about the A-B-B-B structure. I really haven't looked into this as much as I'd like, but for now I'll stick to what I've said. Let me know if you have any thoughts on the subject and I'll see what I can dig up in the next few days.
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