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Posts: 1956
Joined: Dec. 2 2006
From: Budapest, now in Southampton
RE: Accompanying cante and baile (in reply to rombsix)
it's good to have a cantaor, nobody really cares if you play the same thing over and over if there's cante, but when there isn't, people will start to notice when you're not really doing much...i'm doing a taranto now that's almost 10 minutes long and we don't have a singer, imagine that! i find it as boring as hell :)
RE: Accompanying cante and baile (in reply to mezzo)
quote:
Just listen to the outstanding "El Cabeza" guitar sound and groove.
That was phenomenal, mate! Gracias! Been a while since I've seen someone use pizzicato effectively like that. And that abanico the dancer was using sure came in handy. I get cold even when it's not very cold, and once my hands get that way, they transform into dead fish. That's why before I met with the dancer yesterday, I made sure the heating was cranked way up to 30 degrees Celsius, so my hands would actually work. The poor bloke though, started dancing (the session lasted about an hour, with about 30 minutes' worth of dancing, and the rest consisted of talking and trying out palmas and stuff), and he got COOKED considering the settings I had the heater on. By the end of the session, he was practically crawling towards the door to get some cold air to breathe and cool off a bit.
RE: Accompanying cante and baile (in reply to rombsix)
quote:
It is ok to do a solo for whatever palo, be it dance or guitar, but you must understand that that solo is based somehow on the cante. For example, you can play the same falsetas for Alegrias as Romeras when accompanying, but if you did a guitar solo and wanted to call it Romeras, then you must do something melodically that is a direct nod to the cante melody of Romeras. Otherwise you can just call your solo "Cantiñas" or "Alegrias".
This is something that Ricardo said in 2007 in a thread about "what determines a palo." The bailaor I'm collaborating with said he has this Romera he likes (by Carmen Linares, if I'm not mistaken), which he would really like to dance to. We have a singer that could theoretically sing this, and I'm expected to provide the guitar accompaniment. I don't really know how to accompany yet, and I know that he's throwing fancy stuff at me (by the way, he wants to do Aranjuez por solea now ), but I'm just going with the flow to see where that will get me (probably nowhere, or somewhere bad ), but still... Better than just playing solo guitar in my room.
So, can anyone tell me what is distinct about Romeras?
I am thinking of just copying the guitar accompaniment from the track note for note (as much as possible). That is probably what the singer is going to do (considering the closest to flamenco she is, is that she knows Spanish. She doesn't know compas, or anything! ). That's all I have available now though...
RE: Accompanying cante and baile (in reply to mezzo)
a question about accompanying singers: Is good spanish skills(understanding the lyrics) and knowing(and understanding) the lyrics of the song essential before trying to accompany the singer who wants to perform that song?
RE: Accompanying cante and baile (in reply to rombsix)
Dont worry: romeras is the same as alegrias compas. In Spain it is usually played por arriba. The only thing you have to watch out for (depending on the singer) is an occasional change from B7 to C7 and back, as in Caracoles. Just keep playing and remember that everbody blames the guitarrist for mistakes, even when he was perfect
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