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So still, nobody has given me a simple answer to the question I posted a few replies above. Perhaps this is because I'm too thick-headed or that there is NO simple answer.
I have to state it again: Bulería is the 'child' of Soleá. That is the simplest answer I can give.
"Why do we start counting buleria from 12 and most other 12-beat palos from 1?"
Because when you increase the tempo you learn that the accents of solea end up becoming the BEAT feeling. Just read my post in the link I provided and watch the video there I put up.
You can super impose the feeling of buleria 2x over a single compas of solea. In this case the 12,2,4,6,8,10 of buleria lays on top of 1,2,3,4,5,6 of solea. Another helpful hint is the remate. The remate of solea happens often twice in the compas, 4,5,6 and 10,11,12. That feeling is or can be the same feeling of resolve you have with your 6,8,10 remates of buleria.
So that is why you count 12 or 6 as the head beat in buleria, and 1,4,7,10 as the head beat of solea.
Because when you increase the tempo you learn that the accents of solea end up becoming the BEAT feeling. Just read my post in the link I provided and watch the video there I put up.
By God I think I've got it. I went over the tempo increase in my head starting with counting from 1 por solea and then speeding up to get to a buleria feel, and something happened which made me start feeling that 12 sounds like or feels like the first beat of buleria. I guess this is what you meant by the quote above. I'll review this a bit more and see if it sinks in better.
Thanks everyone - even though I wasn't the creator of this thread, I have always wondered about this "starting buleria on 12" issue, and now I think I have a better understanding.
My original point was that Soleá is the palo from which Bulería and Alegría originated. So I think that they should be treated the same, even though they differ widely in tempos.
Not really. The alegria might have originated from the solea in part but it is also a child of the jota. The Buleria also has two parents, the solea and the chufla. It gets its rhythm (hemiola), key (major), and tempo from chufla and its key (phrygian) from solea.
Thanks for the clarification, I knew chuflas had some part in all this, but I didn't know the connection.
Because when you increase the tempo you learn that the accents of solea end up becoming the BEAT feeling. Just read my post in the link I provided and watch the video there I put up.
By God I think I've got it. I went over the tempo increase in my head starting with counting from 1 por solea and then speeding up to get to a buleria feel, and something happened which made me start feeling that 12 sounds like or feels like the first beat of buleria. I guess this is what you meant by the quote above. I'll review this a bit more and see if it sinks in better.
Thanks everyone - even though I wasn't the creator of this thread, I have always wondered about this "starting buleria on 12" issue, and now I think I have a better understanding.
Cheers!
Ram, yes that's what I meant when I said the FEEL changes when the tempo gets faster.
12 1 2 3 4 5 6 7 8 9 10 11 is the same as the hemeola 1 2 3 4 5 6 1 an 2 an 3 an
Which makes you wonder how the Soleá got 'deferred' by 1 beat??
RE: Bulerias time signature (in reply to El_Tortuga)
I find that the easiest way to count it is: 12*,2,4, 6*,8,10 , medio compas makes more sense most of the times for me. which can be made into 1*,2,3 , 1*,2,3 where the the ones are the 12's and 6's. Most of the times I practice with Doctor Compas on the Medio Compas setting (Bulerias in 6's) rather than the regular.
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