flamenco styles
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Flamenco styles
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Flamenco stylesBy Sal Bonavita
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Sal's flamenco Soapbox
Copyright © 2006 by Sal Bonavita
herso.freeservers.com
You are allowed to distribute this Ebook to others.But the actual content may NOT be re-published in electronic, print, website text or any
other form without the express written permission of the author.Contact me if you have any questions
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Flamenco styles
2 of 10 6/11/2006 9:51 PM
Flamenco styles
ContentsClassifying Song Forms
Compás groupings
Compás similarities
Flamenco family tree
Song regions in Andalucia
Tempos and moods
Classifying Song FormsCante jondo
Cante Jondo, the original type of flamenco cante (singing). The word "Jondo" means deep or profound. This refers to a "style of
singing" and usually expresses tragic themes. Various song forms, such as Soleares and Siguiriyas are considered Jondo songs
by nature and fall into this category.
Because of the wide variety of flamenco songs and regional styles it was inevitable that someone would come along and try and
categorize them all in some meaningful way. Jose Carlos de la Luna (1935) tried to divide flamenco forms into two basic types:
cante grande (important songs) and cante chico (less important songs ). In the Grande category he naturally placed the
original Cante Jondo type of songs. The rest, the lighter festive songs went into the Chico category. But these classifications
(including Cante Jondo) all suffer from being highly subjective. This makes the criteria somewhat arbitrary.
In 1971 Ricardo Molina divided flamenco cante into two main groups, with a supplementary third group of folkloric styles.
1. Cante gitano: The musical forms developed by gypsies. Toná, Soleá, Siguiriya, Tango and Buleria.
2. Cante andaluz: Andalusian folk music. Fandango and Cantiñas, such as Alegria.
3. Cantes folkoricos: The "not really flamenco" styles. Sevillanas, Farruca, Garrotín and the Rumba from Cuba all belong to
this group. Other types of Spanish gypsy folk music which are not considered to be true flamenco, such as those heavily
influenced by Arabic culture would also fit into this third group. This text is partly based on information found in anessay by Marion Papenbrok (Flamenco, Gypsy Dance and Music from Andalusia, edited by ClausSchreiner) Amadeus Press 1990.
It all gets a little too complicated when we try to appease the intellect in our attempts to "get it right". The three general
classifications I like to use, Grande, Intermedio and Chico are not my invention, but I see them as a brave attempt to keep it
simple. It needs to be said that not everybody agrees with this method of pigeon holing the song forms. Even a street level
flamenco rebel like myself can agree with the academic assertion that this method is highly subjective. Despite this, it seems to
be the most commonly used (and sensible) system, so why overload the brain any more than we have to?
Naming conventions
Have you ever wondered what the difference is between Soleá and Soleares? There is no difference. Strictly speaking, forms
ending with an 's' indicate a generic grouping (plural). The singular form Soleá is simply one variation, or version of the
Soleares family. When you think about it, an individual can only play or dance one Soleá at a time, so why call a dance
Soleares?
This is one of those strange mysteries that have no real answer, except to say that tradition dictates it to be this way. So why
not call Farruca "Farrucas"? Because tradition did not dictate it to be this way, that's why! Apart from some exceptions like this
that sound kind of silly, virtually all flamenco forms are cross-named in this singular/plural way. Other examples of this
anomaly are Fandango/Fandangos, Bulerías/Bulerias, etc
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Compás groupings
The 4 beat column classifies also those forms normally counted in 8's.
The 3 beat column classifies also those forms normally counted in 6's
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Another grouping listThis list includes many lesser known flamenco forms that you may never come across. But they do exist. Personally I find it all
a bit of a brain overload. I prefer to stick with the major and more common forms indicated on the compás similarities chart.
Toná groupDeblaMartineteSaetaToná
Soleá groupAlboreáAlegríasBamberaBuleríasCampanillerosCañaCantiñaCaracolesCarceleraCartageneraColombianaMarianaMirabrásNanaPeteneraPoloRomanceRomeraRondeñaSevillanaSoleáTrilleraVidalitaZambraZorongo
Fandango groupFandangoVerdialesJaleosFandanguilloFarrucaGarrotínGranaínaGuajiraJaberaMalagueñaMediaMediaGranaínaMilongaMineraRumbaTangoTanguilloTarantaTarantoTiento
Siguiriya groupCabalesLivianaSeguiriyaSerrana
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Toque Libre - No definable compas
Cartegenera
Fandango Grande
Jabera
Minera
Murciana
Rondeña
Danza Mora
Granadinas
Tarantas
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Tempos and moodsEmotive expression
Flamenco has been defined as "an expression of the human condition". I like that. Traditionally, each form has a unique
emotional atmosphere connected with it. The best way to experience this is to listen to traditional style singing recordings. You
can really feel the agony and the ecstasy expressed in these songs. If a song moves you internally to feel specific emotions, the
singer has done his or her job.
Tempo variations
The tempos shown here are meant only as a general guide. In reality (whatever that is) most forms can vary greatly in speed
as the performance progresses. Garrotín and Farruca and Zapateado for example, have alternate fast and slow passages.
Soleares and Alegrías are two forms with sections which can gradually build up tempo. We’re speaking traditionally of course.
With modern flamenco however, almost anything goes. I'm referring to stretching the boundaries of traditional flamenco forms,
not the Ottmar Liebert's brand of totally unrelated 'New Flamenco'. Stretching boundaries is fair enough. After all, flamenco is
an evolving art form and new ideas and fusion concepts are all part of the mix. Did I mention rules? Basically there are none,
not for style anyway.
Speed freaks
Back in the fifties and sixties, flamenco performance seemed to follow a predictable formula which included a healthy serving of
showmanship. The exotic element was exploited to the max. In addition, it seems every recording from that era tried to outdo
the rest with speed. They played very, very fast in those days and tremolo was included wherever possible.
Showmanship - Where's the compás?
Anyway, the only rules which are considered sacred relate to compás timing. Even so, compás tends to get a little hazy with
some of the flashy recordings of Manitas de Plata, Carlos Montoya and even Sabicas. I know that may sound sacrilegious to
Sabicas devotees, but please spare me your emails telling me what a misguided, bad person I am. I said some recordings by
these artists, not all. When I first started to accompany dancers and was beginning to understand compás, I had a good listen
to some of these old records again. All I'm saying is that I had a hell of a time trying to count out Sabicas pieces. I said to
myself, "this guy is supposed to be a master, so where is the compás definition and accented beats? I can't hear it". It was sort
of there, but with all the slowing down and speeding up it is almost impossible to pick at times.
Whatever turns you on
With genuine flamenco groups, when was the last time you saw a performance of Soleares that reminded you of loneliness and
introspection? If you like a little anarchy in your lifestyle, flamenco could be just what you've been looking for.
Flamenco styles
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BEATS PER MINUTE MOOD
230 Bulerias Festive, mockery, playing thefool
220
Chuflas Festive, fun,spontaneous
210
200 Rumba Festive, playful, seductive,Cuban flavor
Zambra Festive, fun
190
180 Guajiras Cheeky, seductive,Cuban flavor
Alegrías Happiness, merriment,celebration
170
Colombianas Enjoyment,celebration
160 Sevillanas Festive, traditional folkdance
Fandangos de Huelva Festive, traditional folkdance
150 Tarantos Darkness, tragedy, deprivation,sorrow
Zapateado Flamboyance, showmanship,cleverness
140 Verdiales Festive, traditional folkdance
Malagueñas Festive,lighthearted
130 Tangos Festive, lively
Garrotín Sensuous, cheeky,happy
120 Siguiriyas Mournful, desolute, a sense ofloss
Soleares Lonliness, longing,introspecrion
110 Farruca Dramatic, macho, disciplined,strutting
100
Peteneras Sadness, grieving,funeral like
90
80 Tientos Serious, stately, majestic,sensual
Flamenco styles
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This free Ebook is a product of
Sal's flamenco Soapbox
Copyright © 2006 by Sal Bonavita
http://herso.freeservers.com
You are allowed to distribute this Ebook to others.But the actual content may NOT be re-published in electronic, print, website text or any
other form without the express written permission of the author.Contact me if you have any questions
More free ebooks can be downloaded from herso.freeservers.com/ebooks.html