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Looking for a general research on this Palo. Figure i should learn to play and write one...as i like the few examples i've heard. has a 'south american' feel to my ears. Understanding it's in 4. Not a common Dance. Is it played much by guitarists in flamenco? Probably like many been fairly glued to Saura's new movie. So will post that as an example. But if anyone has insight into Harmonic Structure, Key, rhythm, identifying phrases or Letra's etc would be appreciated.
from the example below i hear D maj tonality starting with Dmixolydian harmony then these chords Dmaj6/9...F#m7...Fdim...Em7...Asus...Gmaj7 #11...A7b9...Eb/D among many others...Phrygian and non Phrygian cadences...suspensions..Reminds me of Guarija's in some ways. Is this a standard key and how is this example different from earlier ones in history?
"Until recently considered folklore, the garrotín is slowly but surely being accepted into flamenco circles, as are the sevillanas, milongas, tanguillos, campanilleros, and the vito.
There are two schools of thought concerning the origin of the garrotín. One states that it has taken the same road as the farruca; that is, from Asturias to flamenco via the port of Cádiz. The other school, led by Vicente Escudero, insists that the garrotín is a creation of the Gypsies of Lérida, in Northern Spain. The latter school, I believe, is most likely to be on the right track."
(Donn Pohren, The Art of Flamenco)
The garrotín was popularised by Carmen Amaya and Sabicas (together). Apparently it used to be played in A, but Sabas played it in C, which is now the usual. They recorded it on Flamenco!
Sabas also recorded it many times a soloist, often beautifully double-tracked: for example, on Flamenco Reflections.
If you want an example written out, there’s one in Paco Peña’s Toques Flamencos.
Re Rocio molina video. Has the fag relaced the hat in the dance? Almost looks like she's doing a farruca to it with the trousers and zapatadeo. I would think the Rafael Riqueni version is more typical of the palo but I leave it to the experts.
thanks paul..very helpful...gives me alot more to look into Donald...yeah the cigarette kind of threw me way before she threw it. guess i'm just trying to get a handle on the structure and identifying form...
It is pretty different from the Amaya/Sabicas bit, which I think is more like their own take on the palo. I'm not sure I would have recognized that as garrotin right off the bat. Garrotin por buleria? Or just plain bulerias?
I think something like the Pepe Martinez is what both Requeni's version and the Rocio Molina performance are based on. It's pretty simple, and the Paco Peña version in the book "Toques Flamencos" is similar.
And here is the encyclopedic Rafael Romero "El Gallina" with the cante, also traditional in form:
For those few lurkers who may not be familiar with Gypsy nicknames, "Ell Gallina" is neither a contradiction in gender nor a slur on Romero's manhood. His mother's nickname was "La Gallina [the Hen]". "El Gallina" is short for "El Niño de La Gallina".
Thanks for posting these other videos. On looking round youtube I was finding it universally done to the cante of "pregunte a mi sombrero", everybody including Chano Lobato, Esmerelda Marche, Ana Maria Blanco were all doing it.
My information on the palo is that it is in a major key, in common time and not pure flamenco.
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