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I just wanted to know what type of fandangos this is. Obviously I know it is not the rhythmic fandangos de Huelva. Is this a fandangos naturales? Is there no compas to it? I am guessing that this is the fandangos that became the granainas, malaguenas and Levantes cantes?
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"I'm just a poor crazy man in love with his art." Santos Hernandez
No, but they rhythm is based on a very flexible and stretched-out version of the FdH compás. Notice the six-beat rhythm in Moraíto's falseta.
quote:
I am guessing that this is the fandangos that became the granainas, malaguenas and Levantes cantes?
No. The cantes levantinos that you mention probably came from local fandangos in eastern Andalusia (as opposed to Huelva, which is in western Andalusia), chiefly from cantes abandolaos like verdiales. The abandolao rhythm was slowed or eliminated altogether. Fandangos naturales were probably developed after the cantes levantinos (maybe 1915-1920). The lines of verse are shorter vs. malagueña or granaína. They contain elements from several different sources.
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Joined: Dec. 14 2004
From: Washington DC
RE: Quick Fandangos Question (in reply to NormanKliman)
quote:
ORIGINAL: NormanKliman
quote:
Is this a fandangos naturales?
Yes.
quote:
Is there no compas to it?
No, but they rhythm is based on a very flexible and stretched-out version of the FdH compás. Notice the six-beat rhythm in Moraíto's falseta.
quote:
I am guessing that this is the fandangos that became the granainas, malaguenas and Levantes cantes?
No. The cantes levantinos that you mention probably came from local fandangos in eastern Andalusia (as opposed to Huelva, which is in western Andalusia), chiefly from cantes abandolaos like verdiales. The abandolao rhythm was slowed or eliminated altogether. Fandangos naturales were probably developed after the cantes levantinos (maybe 1915-1920). The lines of verse are shorter vs. malagueña or granaína. They contain elements from several different sources.
Yep, everything he said. It is true that the Levante cantes and verdiales have the same BASIC harmonic form as fandangos so that is the relationship. THe Levante cantes move through the changes slower and often use passing subdominant chords, even and especially with the sung melody (via the flat 7 of a passing chord that the guitar may or may not play, opting to resolve instead).
Oh, also called FANDANGO GRANDE in West Virginia only. (that is for estela. ).
thanks very much to both of you for this, it really clears things up. I want to learn how to accompany this style of Fandangos, and somehow the fact that the compas is more loose or else non-existent is making me uncomfortable. I have gotten so used to using the compas as a guide about whether what I am playing makes sense that without it I am worried I have no frame of reference.
I think I will start by listening to many fandangos like this and looking for the typical progressions. Next learning the most typical patterns and practicing along with the record or else the cante tracks on this foro if I can find them!
_____________________________
"I'm just a poor crazy man in love with his art." Santos Hernandez
thanks very much to both of you for this, it really clears things up. I want to learn how to accompany this style of Fandangos, and somehow the fact that the compas is more loose or else non-existent is making me uncomfortable. I have gotten so used to using the compas as a guide about whether what I am playing makes sense that without it I am worried I have no frame of reference.
I think I will start by listening to many fandangos like this and looking for the typical progressions. Next learning the most typical patterns and practicing along with the record or else the cante tracks on this foro if I can find them!
NOt sure how well you are accompanying with compas based cantes, but the concept is the same. You wait for the harmonic clues the singer gives you with the melody. So you have to be familiar with some of the melodies of fandangos. they all pretty much have the same harmonic phrasing but might clue you in to the change with different chord tones.
In E phrygrian:
First melody goes to C you can be given either a C note, E or even G (Caracol style). You play C chord AFter you are given this. (understand there may be special cases where the singer gives a short part of the first line with a break and you can hold a G7 sort of suspending the thing waiting for the full line to resolve to C).
Some style skip out on the C chord and take you right to F. YOu can tell because the lyrical content flows together and is unusually long. In any case for the next line of verse, the note the singer gives is always either an F note or an A note then they stop for you to answer.
Next you have the same as the first change (often same lyric but not always same note), back to C.
Next will be G called in by either a G or a B note of the melody.
Back to C with either C note or E note.
then final will be most often to F with the F note, sometimes A note, then quick resolve to E and guitar goes to E major (phyrigian sound).
All the fandangos pretty much follow that form except for a couple odd ones.
Here's Salva del Real lessons. Some materials you could surely work on. He also made others similar vids where he explained taranta, granaina, malaguenas...
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"The most important part of Flamenco is not in knowing how to interpret it. The higher art is in knowing how to listen." (Luis Agujetas)
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