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Woaw. I haven't started to learn Siguiryas... this makes me want to jump in it. But I've got to wait.
I have a question or something I noticed. In this song, it seems to me that Camaron is following the pace of the the guitarist (I think it's Tomatito). He leaves him space, and comes in only when the guitarist gives him the call. 1. I might be wrong 2. but if I saw it kind of right: 3. is that a particularity of Seguiryias? 4. or is it a biological thing that emerged at this moment.
I'm asking because I always thought that the Guitar is in service of the voice.
Correct. For example at 5:19 Tomatito delivers the llamada rasgueado...but camaron had not yet finished the line. What goes on is this....the singer has the melody in mind and delivers it as intended, loosely timing wise over the droning chord sequence...taking more or less time between the phrases as he feels. In all honesty, since Tomatito is not delivering the cambios (C-F) at all, he only needs to do something in the respiros or llamadas as he sees fit. Camaron only needs to listen to when to come in after the guitar does something. But once he is in it he has to complete the lines etc...and as you see at 5:20 he wasn’t yet finished.
It is best to first study and get a good handle on song forms that adhere to strict tempos (solea, buleria por solea, bulerias etc)...next encounter cante libre such as malaguenas, cante de La mina, etc, so you learn how to keep the form together via melody only, and last learn how to accompany a free melody over elastic compas (siguiriyas, special types of fandangos, taranto for baile etc). Modern solea has enjoyed an elasticity in recent years it did not have before, and it is akin to how siguiriyas is done.
Thanks Ricardo, that helps. Yes, I'm focusing on the fixed compas for the moment.
The thing is that there are not one singer around where I live. No way to practice that aspect. It's really discouraging. I practice following singers on youtube, with live videos. That's the best I can do for the moment.
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