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Yeah I'd like to know more as well. I've done it at the end of every alegrias I've done with dancers but I'm assuming it's done on its own in a non-baile setting...... Everyone one I've seen on the end of an alegrias appears to have the same format for the letra, I would guess in a non-baile format there's more room to play with the letra format.....
It´s very common to end Alegrías with Bulerías de Cádiz(In Dance), the structure is usually major chords same like in Alegrías, letra and aire is very happy and burlesque. Many examples can be found on youtube. Look for el Pericón, La Perla de Cádiz, David Palomar, etc. many examples can be found. Very tipical letra: Con el caray, cara, caray que mira qué de cosas que pasan en Cádiz que ni la hambre no la vamos a sentir que mire usted que gracia tiene este país
Here's the one I accidentally memorized just from hearing it sung so much. Every time I hear one it seems to be the same exact melody just with different letras. Dicen que van a poner Una puente por la bahia Cirquita yo voy a tener La persona de la mia
Here's the one I accidentally memorized just from hearing it sung so much. Every time I hear one it seems to be the same exact melody just with different letras. Dicen que van a poner Una puente por la bahia Cirquita yo voy a tener La persona de la mia
That is one of many different melodies. As I have been saying... the dancing has structured and boxed the cante almost to the point of extinction. Go look up CHANO LOBATO for some great bulerias de cadiz.
That is one of many different melodies. As I have been saying... the dancing has structured and boxed the cante almost to the point of extinction. Go look up CHANO LOBATO for some great bulerias de cadiz.
I suspected this to be the case, thanks for the lead!
That is one of many different melodies. As I have been saying... the dancing has structured and boxed the cante almost to the point of extinction. Go look up CHANO LOBATO for some great bulerias de cadiz.
Every time you say that I hear you.
Wasn't the idea that the dancers dance to the cante' instead of telling the singer where to begin and end ?
File under *Choreographing the Cante' _______
The dance teachers (read Oakland) in No. CA often get the complement from visiting Spanish singers, "Wow, the student dancers wait (listen) for the cante' to come." ( as opposed to going into one rote learned response to being given a line with a funny ending or extended)
Something right going on up there. They keep them in line. You can tell the when a dancer is letting the singer reel it out and not forcing them to work in a box. And watching a great dancer hit it out when a singer feeds them unfettered lines. Hell yeah, that what it's all about.
Wasn't the idea that the dancers dance to the cante' instead of telling the singer where to begin and end ?
Ricardo is right on. I am friendly with several professional guitarists. If they are contracted to play for a dancer, they have to spend some time, maybe weeks, learrning the coreografia. If it should look spontaneous at the end, it is because it has been very well rehearsed.
I know you were, but if "artistas from Jerez and Barcelona" is bad, does the same apply to "artista from Sevilla"?
I was just trying to point out that the treatment of compás in Cádiz, Jeréz and Lebrija/Utrera is different. The cante is sung a different way, the guitar follows a different rhythm. The differences are subtle but real.
This is referred to as "soniquete", possibly translated as feeling.
Top class guitarists, such as Román Vicente or Rafael Rodriguez or Antonio Carrión can adapt. Most of the guitarists from Jerez cannot.
I was just trying to point out that the treatment of compás in Cádiz, Jeréz and Lebrija/Utrera is different. The cante is sung a different way, the guitar follows a different rhythm. The differences are subtle but real. This is referred to as "soniquete", possibly translated as feeling. Top class guitarists, such as Román Vicente or Rafael Rodriguez or Antonio Carrión can adapt. Most of the guitarists from Jerez cannot.
that's actually way more interesting than what posted originally, so I'm glad I asked.
I have a long way to go in my appreciation of the nuances and regional variations of cante and compás, but I like to think that at least I know enough to know how little I know.
I am familiar at least with the difference between bulerías from Jerez and Lebríja/Utrera, and have a sense of the meaning of Soniquete, hard to translate, no?
Did you mean to imply that most of the guitarist from Jerez are not top class? Or is it that the Jerez style is too strong to adapt? I have a CD of Moraíto accompanying Inés Bacán.
Did you mean to imply that most of the guitarist from Jerez are not top class? Or is it that the Jerez style is too strong to adapt? I have a CD of Moraíto accompanying Inés Bacán.
In no way. In my opinion, Jerez is the saviour of present day cante and toque. But the style is very strongly flamenco, so because Inés is flamenco desde las tripas and needs a guitarra flamenca, Moraito is perfect.
The social relation between Jerez and Lebrija/ Utrera is very strong: if you want to know why, I recommend that you read the book by Estela Zatanía about the gañanías.
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