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This document is an Addendum to the Compas Analysis. It contains additional material relating to all aspects of Flamenco. Material will be added to the end of the document from time to time. The current Addendum will be included with the hard copy version of the Compas Analysis. (Most of the material was posted to the Flamenco mailing list on the dates indicated.)Enjoy!
(1/26/96)
Measures divide the fundamental pulse of the music ("takt"; the clock ticking) up into coherent groups of 2,4 (the 2/4,4/4 families) notes or 3,6 (the 3/4,6/8 families) notes. The "beat" is taken to be the quarter note, except in 6/8 where it is a "dotted" quarter note (counts 12,3). However for Flamenco, in 6/8 time, the fundamental "takt" is still felt evenly ([3/4];12*,2*,4*) even in 6/8, with the ([6/8];12*,3*) felt against it. The counts, however (e.g., 12,1,2,3,4,5) are evenly distributed in time.
Remember, the counts within measures are evenly divided in time, no matter if you're counting in quarter notes or eighth notes (as in Bulerias). The way the counts are subdivided (note groups) are also even (doublets, triplets, etc.) in time.However, the way the notes are grouped in terms of accentuation (*,^) may not be evenly divided in time relative to the counting, which gives hemiola, counter-time, and other phrase variations.
Rests (or "tied notes") can also be used (for the guitar and dance, rests are convenient because of its percussive nature, for cante or dance choreography tied notes indicate holding of pitch in a melody).
It is important to be clear about:
Measures (time signatures) - describe the fundamental grouping of beats.
Usually applies to chord progressions, dance
movements, compas structure in general
Note Groups - describe the grouping of notes within beats.
Usually applies to individual techniques used
to express compas (e.g.,Punta, Tacon, Picado,
Rasgueo,etc,)
Accents - describe emphases of individual notes within
note groups, time signatures)
Counting - a way of conceptualizing the cyclic nature of
compas phrasing in relation to time signatures.
Rests, tied notes - used to indicate silences within note groups.
(counter-rhythm, hemiola, sub-phrasing of melody)
Phrasing - an arbitrary grouping of notes which may or may not
correspond to measures, note groups, etc.
Anacrusis - "pick-up" notes before the measure in a phrase Feminine ending - Trailing notes after the measure in a phrase
* = accent
[time signature]
(rest), (optional rest/accent) e.g. (12*)
|: :| measures, with colons indicating 1 or MORE repetitions.
/ - signifies rest or continuation for a beat/group
(e.g. |[3/4] / / / |,|[6/8] / / |
|[3/4] (12) (2) (4)|,|[6/8](12) (3) |
Counting in eighth notes, e.g.
[3/4] = 3 x 1/4, e.g.|[3/4] 12* 1 2* 3 4* 5 | * on 12,2,4
[6/8] = 2 x 3/8, e.g.|[6/8] 12* 1 2 3* 4 5 | * on 12,3
Counting in quarter notes, e.g. (Half speed compared to above)
[3/2] = 3 x 1/4, e.g.|[3/4] 12* 1 2* 3 4* 5 | * on 12,2,4
[6/4] = 2 x 3/4, e.g.|[6/8] 12* 1 2 3* 4 5 | * on 12,3
Tum = singlet
Tumty or Tmty = doublet
Tumpity, Rumpity or Rmpity = triplet
Tumpidity, Rumpidity or Rmpity = quadruplet
Tumpitytumpity, Rumpitytumpity - sextuplet
Redobles emphasize a note anacrusically (via pickup notes); common sequences are:
|[3/4] 12* (1 2) 3 a a 4* (5) |(count 4*)
Tmp rmpity TMP |
(Redoble)
|[3/4] 6* (7 8) 9 a a 10* (11)| (count 10*)
| Tmp rmpity TMP |
(Redoble)
|[6/8] 12* 1 2 a a 3* 4 5 a a | 12*......... , etc.
TMP tmp rmpity TMP tmp rmpity TMP (counts 12. 3)
(Redoble) (Redoble---)
Turns (vueltas) are often substituted for redobles in the dance; redobles are expressed by rasgueados on the guitar.
Ta r--i--a Ta
tmp rumpity tmp
ria - castanet roll with ri on "a" and a on count)
(alternative for redoble/rasgueado)
There are two fundamental types of 12-count sequences in Flameneo: those that are written as two measures (6/4,3/2;or 6/8,3/4) counting from 12 - 5, and 6 - 11 respectively, or four measures counted from 1 - 12 (3/4, or 3/8)In the first case, the accents emphasize counts 12,3,6,8, and 10 (e.g. Paseo Castellano)or 12,3,7,8,10 (e.g. cante) and the second case emphasizing phrasing on counts 1,4,7, and 10 (e.g. taconeo, chord phrasing).
Case I (e.g. Soleares)
|[6/4]12* a 1 a 2 a 3* a 4 a 5 a|[3/2]6* a 7 a 8* a 9 a 10* (a 11 a)|
Case II
|[3/4]1* a 2 a 3 a|4* a 5 a 6 a|7* a 8 a 9 a|10* (a 11 a 12 a)|
Case I (e.g. Bulerias)
|[6/8] 12* 1 2 3* 4 5 |[3/4] 6* 7 8* 9 10* (11)|
Case II
|[3/8] 1* 2 3 | 4* 5 6 | 7* 8 9 |10* (11 12)|
Transitions between the two cases can be indicated with a transition phrase indicated by broken measures:
(e.g. Soleares) ----------
|[3/4] 1* 2 3 | 4* 5 6 | 7* 8 9 | [2/4] 10* (11)| Case II
--Transition--
|[6/4] 12* 1 2 3* 4 5 |[3/2] 6* 7 8* 9 10* (11) |[1/4] (12)| Case I
Transition
|[3/4] 1 2 3* | 4 5 6* | 7 8* 9 | [2/4] 10* (11) | Case II
e.g. Bulerias --------------
|[3/8] 1* 2 3 | 4* 5 6 | 7* 8 9 | [2/8] 10* (11)| Case II
--Transition--
|[6/8] 12* 1 2 3* 4 5 |[3/4] 6* 7 8* 9 10* 11 |[1/8] (12)| Case I
Transition
|[3/8] 1 2 3* | 4 5 6* | 7 8* 9 | 10* (11) (12)| Case II
Another accentuation is possible for taconeo (3, 6, 9, 12) (continuing compas before resolution on 10 in a following one).
|[3/8] 1 2 3*| 4 5 6* | 7 8 9* | 10 11 12*| Case I
|[3/4] 1 2 3*| 4 5 6* | 7 8 9* | 10 11 12*| Case II
The basic chording compas for Fandangos de Huelva is in 12 counts, counted from 12 to 11 in two measures of 3/4 and resolving on count 8, with a redoble from counts 9 - 10:
E7 Am G F E
|[3/4] 12* a 1 a 2* 3 a a 4* 5 | 6* 7* 8* 9 a a 10* (11) |
Tumty tumty TUM Rmpity Tum Tum Tum Tum Tum Rmpity Tum tum
Copla Form
A copla consists of 6 12-Count Cycles, which can be accentuated similarly to the chording compas:
G7-------------------------------------> C
C -------------------------------------> F
G7 (or F)------------------------------> C
C -------------------------------------> G7
G7 ------------------------------------> C
C -------->F --------------------------> E
|[3/4] 12*a 1 a 2* 3 a a 4* 5 | 6* a 7 a 8* 9 a a 10* (11) |
Tmty tmty TUM Rmpity Tum Tum Tmty tmty TUM Rmpity Tum (Tum)
Dance steps are often two 6-count variations drawn from classic and folkloric forms. (Classical musicians count measures starting on 1, so you'll have to change the start count to 12 to insert them into the flamenco forms, if you're porting them over)
----------------
The Dance/Cante is also often accented on 12,3,6,8, and 10 like Paseo Castellano (or like the cante - 12,3,7,8,10):
|[6/8] 12* 1 a a 2 3* (4 5) | 6* 7 8* 9 a a 10* (11) |
TUM Rmpity Tum TUM TUM Tum TUM Rmpity TUM
----------------------
Example: Check the "Arimate" in the Fandangos de Huelva finale in "Carmen" in the cuadro where Jose meets Carmen in the nightclub (with all the Japanese tourists).
(e.g.) my palmas - dobles with count 5 omitted)
C C C C C C
E7 Am G F E
[3/4 or 6/8]| 12 1 2 (3) 4 5 a | 6 7 8 9 10 11 a |
A- | ri-ma-te, ay gi| ta-na mi---a |
| yo no pue---do vi| vi'sinti vi-|
C G
| vi'sinti ay no| puedo ma-as gi-|
F E
| tana mi-a me va-| a ma ta'(9aa10)(11) |
(redoble)
(I don't remember if they do the quitate part):
Am G F
[3/4] | 12 a 1 a 2 3 a 4 5 | 6 a 7 a 8 9 a 10 11 a |
| quitatedel sol que te quema | quitatedel sol que te po---ne que|
E E7 Am
| la ca--ri ta mor-e-na |(6) tum TUM (finale) |
Fandangos Falseta Forms
Although some falsetas follow the phrasing of the chording compas (changing chords on count 2) the common form for solos is in 6/8, with an anacrusic 6-coount phrase beginning on count 4; Count 3 is often silent or a bass note on the tonic (E).
|[6/8] (12 1 2 3 ) 4 5 | 12* 1 2 (3*) (4 5 ) |
|<---Falseta------>|
Tm Tm TUM tm tm (tum)
Transition (Fandangos de Huelva)
The resolution is on count 8, with the transition on count 9 (omitting the redoble/rasgueado):
(Basic Chording Compas)
E7 Am G F E
|[3/4] 12*a 1 a 2* 3 a a 4* 5 | 6* 7* 8* (9) 4 5 |
Tmty tmty TUM Rmpity Tum Tum Tum Tum TUM Falseta start
This can be written with a transition phrase:
|[3/4] 12*a 1 a 2* 3 a a 4* 5 |[2/4] 6* 7* 8* (9)|
Tmty tmty TUM Rmpity Tum Tum Tum Tum TUM (Trans.)
|[1/4] 4 5 |:[6/8] 12* 1 2 (3*) 4 5 :|, etc.
[----- falseta -compas-->|
To return to basic compas:
(Am) G F E
|:[3/4] 12* 1 2* 3 a a 4 5 | 6* 7* 8* 9 a a 10* (11) |
--falseta-->| Rmpity Tum Tum Tum Tum Tum Rmpity Tum (tum)
(Chording Compas)
The falseta compas is also phrased in 3/4, with the bass note on count 3 felt as a "hiccup" at the end:
|[3/4]: / / 4* 5 |:[3/4] 12* 1 2* (3) / :|, etc.
|<-----Falseta compas----->|bass|
This is typical of Fandangos solo falsetas (Sabicas, Don Ramon Montoya). Falsetas can also be phrased in 3/4, changing chords on counts 12 and/or 2, similar to the chording compas.Note that guitarists in solo Fandangos often are not careful about the rasgueado, and will insert it (or an arpeggio figure similar to the Solea resolution phrase) on counts 9 and a 10, beginning the above falseta on count 12, throwing the solo out of metric compas. Just be aware of the possibility of an extra two counts when listening to solo artists....
Castanets and Modern Rasgueo Accompaniment
ria - castanet roll or rasguado with ri on "a" and a on count)
(ria = rumpitytump)
Standard Compas
|[6/8] TA ria ria pi TA ria ria pi |
|[6/8] 12 a 1 a 2 a 3 a 4 a 5 a |
Paseo
|[6/8] Ta ria ria pi TAria TA |
|[6/8] 12 a 1 a 2 a 3 a a 4 (5)|
Redoble
Above castanet phrasing played on top of the chording compas.
Old Style Accompaniment (e.g. - Lola Flores in "Sevillanas")
(Note that the Chording Compas is identical to the 1st measure of the Fandangos de Huelva.)
Entrada <-------Chording Compas------------>|
Am E7 Am
|[3/4] (12 1) 2* 3 a a 4* 5 | 12*a 1 a 2* 3 a a 4* 5 |etc.)
|[3/4] (12 1)tmp rmpty tm tm | tmty tmty tmp rmpty tm tm |
Redoble/rasg.) (Redoble/rasg.)
12 and 3 accented in 6/8 time in the dance. 3/4 accents/chord changes on 12, 2, 4.
(See discussion of Sevillanas form below)
Palmas
C c c C c c
|[6/8] 12* 1 2 3* 4 5 |, etc.
E.g., listen to the palmas in the "Jealousy" Sevillanas near the end of Saura's "Carmen".
Sevillanas Form -
(Note; Old Style - guitar chording compas in 3/4, dance and castanets in 6/8. Newer Style - everything in 6/8 as in "Sevillanas")
(counting 6 count cycles from 12 to 5 as usual)
Marking (chording) compas ? x 6 count cycles
Salida 2 x 6 count cycles
Marking compas or Paseo 1 x 6 count cycle
First copla 5 x 6 count cycles
Paseo 1 x 6 count cycle
Second copla 5 x 6 count cycles
Paseo 1 x 6 count cycle
Third copla 5 x 6 count cycles
(repeat dance 4 times and change partners)
Old Style Guitar Accompaniment Example
(Note: Bold Counts (in [6/8]) are those emphasized by dancers, and modern form of accompaniment.)
(Redoble/rasg.) are accented on count 3 a a 4)
--------------------------------------------------------------
Entrada - Marking Compas (repeat until Salida)
Am E7 Am
|[3/4] / 2* 3 a a 4* 5 | 12 a 1 a 2 3 a a 4 5 | etc.)
|[3/4] / tmp rmpty tum tum |: tmty tmty tmp rmpity tum tum |
Final Marking Compas
E7 Am
|[3/4] 12 a 1 a 2 3 a a 4 (5)|
|[3/4] tmty tmty tmp rmpty tmp / |
Salida
(old style guitar falsetas usually start (anacrusically) on count 5 of final marking compas above):
Salida Falseta
|-------------------------------------------->| (Am) Chording Compas
(5 a ) |[3/4] 12*a 1 a 2*a 3 a 4*a 5 a | 12*a 1 a 2* 3 a a 4* 5 |
rmpty tm tm
Paseo (Chording Compas)
E7 Am
|[3/4] 12*a 1 a 2* 3 a a 4* (5) |
|[3/4] tmty tmty tmp rmpty tmp / |
1st copla (Falseta) [3/4]
(5 a ) |12*a 1 a 2*a 3 a 4*a 5 a |
|12*a 1 a 2* 3 4* 5 a |
|12*a 1 a 2* 3 4* 5 a |
|12*a 1 a 2*a 3 a 4*a 5 a |
|12*a 1 a 2* rpty tm tm | (Am chord)
Paseo (Chording Compas) [3/4]
E7 Am
| 12*a 1 a 2* 3 a a 4* (5) |
| tmty tmty tmp rmpty tmp / |
2nd copla (Falseta) [3/4]
(5 a ) | 12*a 1 a 2*a 3 a 4*a 5 a |
| 12*a 1 a 2* 3 4* 5 a |
| 12*a 1 a 2* 3 4* 5 a |
| 12*a 1 a 2*a 3 a 4*a 5 a |
| 12*a 1 a 2* rpty tm tm | (Am chord)
Paseo (Chording Compas) [3/4]
E7 Am
| 12*a 1 a 2* 3 a a 4* (5) |
| tmty tmty tmp rmpty tmp / |
3rd copla (Falseta) [3/4]
(5 a ) | 12*a 1 a 2*a 3 a 4*a 5 a |
| 12*a 1 a 2* 3 4* 5 a |
| 12*a 1 a 2* 3 4* 5 a |
| 12*a 1 a 2*a 3 a 4*a 5 a |
| 12*a 1 a 2* TUM* | (Final TUM = 3)
Notes:
1. For this discussion, Bulerias will be in A Phrygian; transpose to other keys as required.
2. The Bulerias is usually performed at a tempo of about 120 quarter notes per minute.
Basic 12-Count Chording Compas
The fundamental chording compas for the guitar can be written in 12 counts:
A Bb A
|[6/8] 12* 1 a a 2 3* (4) (5) |[3/4] 6* 7 a 8* a 9 a a 10* (11) |
TUM rmpty tum TA tm tmty tmty rmpty TUM
(Resolution Phrase )
Resolution chord A can also begin on 6.
Here counts 12 - 5 act as sort of a "question", with 6 - 11 "answering" as a resolution phrase. Resolution phrases either a 3/4 measure, or on a single count 10 as above.
Falseta Basics
There are a number of types of Bulerias falsetas. They include:
1. straight sequences of one or more 3/4 phrases ending on a resolution phrase:
e.g., Bb->C->Bb->, Dm->C->Bb->, A (Resolution Phrase)
|:[3/4] 12* 1 a 2* a 3 a 4* 5 :| 6 (7) (8) 9 a a 10* (11)|
Tum tmty tmty tmty tum ty TUM rmpty Tum
2.straight sequences of one or more 6/8 phrases ending on a resolution phrase:
e.g., Bb->C->Bb->, Dm->C->Bb->, A (Resolution Phrase)
|:[6/8] 12* 1 a 2 a 3* 4 5 :| [3/4] 6 (7) (8) 9 a a 10* (11)|
TUM tmty tmty TUM tm tm TUM rmpty Tum
3. a 12 - count phrase beginning on count 1 and extending thru 10, accents on 3, 6, 8, and 10.
4. Jaleo Phrasing (To be discussed separately)
Dobles
Bulerias is unpredictable when accompanying; dancers and singers are free to insert any of the above phrasings or combinations thereof (depending on context ). One of the ways Gypsies keep compas in accompaniment is with Dobles palmas.
If you heard the palmas alone, they would sound like waltz time (normally accented counts silent):
(C - claps, F = foot taps)
C C C C
|:[6/8] 12* 1 2 3* 4 5 :|
F F
However, to emphasize the 6-count nature (instead of 2 phrases of 3), these are often performed polyrhythmically, with the foot tapping in 3/4 and the palmas in 6/8:
[6/8] |: C C C C :|
|: 12* 1 2 3* 4 5 :|
[3/4] |: F F F :|
(If performed alternating with the above, you get the 12-count accent; however, Gypsies like to "cook" in sixes)....These sequences of sixes are usually preceded and followed by the basic chording compas, with palmas accompaniment (1,2,3,7,8,10 - like cante copla; similar to Solea):
C C C C C C
A Bb A
|[6/8] 12* 1 a a 2 3* (4) (5) |[3/4] 6* 7 a 8* a 9 a a 10* (11) |
TUM rmpty tm TUM tm tmty tmty rmpty TUM
(Notice the final counts uses Dobles but omits count 11 (= 5)
You can hear dobles in many Bulerias. Examples are on Solo Flamenco (Sabicas), Queen of the Gypsies (Carmen Amaya, Sabicas). If you have the TVE documentary, there is a sequence of PdL accompanying por Bulerias, with everyone else rapping out dobles on the table. You can also see dobles on the "Flamenco" (non-Saura) video. You can also see dobles in many places in the various Bulerias in "Andalusian Journey".
Myself, I learned the polyrhythmic version from watching Andorrano (live in Moron). (in the TVE sequence with Diego del Gastor accompanying Joselero - you can also see the girls (and Andorrano) clapping straight 3/4 as well as dobles. Diego's falseta (the one he repeats) is in straight 3/4 except for the final octave sequence.
The old style of Bulerias often performed as a finale to the Alegrias and Solea dance is often called Chufla (or Jaleo). To see how it works with the Bulerias compas discussed in an earlier post, consider first one of the basic Soleares compas structures (often used as a chording compas, or in accompanying Taconeo), expressed as four measures of 3/4 time, with counts on each quarter note, and the resolution phrase on the last 3/4 measure from 10 to 12. Here the chords change on the 1st count of each measure; for simplicity we'll accent the same way:
Soleares (E Phrygian)
Fmaj7 C Fmaj7 E (Resolution)
|[3/4]1*a 2 a 3 a|4* a 5 a 6 a |7* a 8 a 9 a |10* 11 12 |
Bulerias
|[3/4]12*1 2*3 4*5|6*7 8*9 10*11| (Bulerias Compas sequence)
In comparison with the Bulerias sequence at the same tempo (say, quarter note = 120), note that the Solea 12 count compas is twice as long, and the relation of the counts. (Solea has a much wider range of possible tempos than Bulerias; this is a fairly slow Solea tempo, possibly used at the beginning of a taconeo section.)
If the Soleares sequence is now speeded up to twice the speed, at the same tempo (as defined by the quarter note), it would be expressed in four measures of 3/8 time:
Soleares
Fmaj7 C Fmaj7 E (Resolution)
Bulerias (Jaleo)
Bb A Bb A
|[3/8]1* a 2 a 3 a|4* a 5 a 6 a|7* a 8 a 9 a |10* 11 12 |
(Dance Step - changing to two cycles of 6- count beginning on 1)
C C C C C C C C
E7 A E7 A (A Major Alegrias Finale)
Bb A Bb A (A Phrygian)
|[3/8]1* 2* 3 (a) | 4* 5* ( 6) | 1* 2* 3 (a) | 4* 5* (6) |
| TUM TUM Tmpty TUM TUM tum | TUM TUM Tmpty TUM TUM tum |
(Note that the clapping is consistent with Dobles)
Transitions (Bulerias->Jaleo->Bulerias):
The next goal is to fit this phrasing into that of the 12-count Bulerias phrasing, while keeping the counting consistent.One way describe the transition from a 12-Count Bulerias to Jaleo and back again is to use a transition phrase that divides a 3/8 measure at the beginning and end (remember the resolution on count 10):
Bulerias (12-Count)
C C C C C C C C
|[6/8]12* 1 2 3* 4 5|[3/4] 6* 7 8* 9 10*(11)| (Bulerias Compas sequence)
------ (Resolution)
Jaleo (Chufla)
C C C C C C C C
|[1/8] (12) |:[3/8]1* 2* 3 |4* 5* 6 :|7* 8* 9| [2/8] 10* (11)|
Transition Jaleo--(Repeat 3)------- Transition-----------
Bulerias (12-count)
C C C C C C C C
|[6/8]12* 1 2 3* 4 5|[3/4] 6* 7 8* 9 10*(11)|(Bulerias Compas sequence)
------ (Resolution)
Note that the transitions require that a dancer wait two count s (11 and 12) before entering the Jaleo phrasing, while there is only one count (11) before the accented count 12 on reentering the standard Bulerias.(The transition to Jaleo is usually performed in Alegrias as a transition from a 12-count llamada, but the idea is the same). (The Ida is another form of transition not often used today; it will be described separately).
Historically, it is possible that the 12-count Bulerias cycle evolved from the speeded up Soleares Cante (12-count 3/4, but accented on 3,6,7,8 and 10) or the Paseo Castellano (accented on 3,6,8,10, and 12), and the Jaleo from Taconeo or chording compas (accented on 1,4,7,10 as above).
Practically, these accentuations are often performed against each other by the dance, guitar, and cante.
A llamada ("call") is a compas sequence used to signal the end or a transition between sections of the dance (the term is also applied to the corresponding accompaniment of the guitar. It is usually applied to forms within the 6/8,3/4 family of flamenco rhythms, with the term ("cerra") applied to its equivalent in the 2/4,4/4 families.
12-Count Llamada (Solea, Alegrias)
The llamada begins on count "1" after resolving on count 10 of the preceding compas, and has accents on 1,2,3, and possibly 6 and a strongly emphasized sequence from 7-10, finishing with strong footwork or a vuelta (bien parada) on count 10.A typical section of Soleares or Alegrias builds from a slow tempo in 3/4 to a fast tempo (which could be written in 3/8; there is a gray area here). To retain consistency with the slow tempo, I'll write it in 3/4 in this context:
|[3/4]10* (11) (12) | (previous compas)
Llamada
|[3/4] 1* 2* 3* | (4) (5) (6*)| 7 a a 8 a a 9 a a |10* (11) (12)|
TUM TUM TUM rmpty rmpty rmpty TUM
(vuelta)(pose)
In Solea and Alegrias, if a transition between sections, the music and dance begins again at a slow tempo, building up to another llamada.
Llamada por Bulerias (from Jaleo)
In Bulerias dance the llamada usually functions as a transition from a series of footwork series (returning to position in a half circle from a llamada) to a marking sequence in 6/8 (simple foot out and back on 12 and 3) waiting for the singer to enter with a copla.
Jaleo
|[3/8]10* (11) (12) | (previous Jaleo compas)
Llamada
|[3/8] 1* 2* 3*|(4) (5) 6*| 7* 8* 9* |(2/8)10* (11)|
TUM TUM TUM (walking forward) TUM
Marking (or other pasos)
|:[6/8] 12* 1 2 3* 4 5:|
(L, R) (L, R) (foot pointing out and back on 12 and 3)
Llamada por Bulerias (from 6/8,3/4 Compas)
This transition is handled similarly to that of Jaleo:
Bulerias (12 count)
|[6/8]12* 1 2 3* 4 5|[3/4](6) 7* 8* 9 10* (11) |[1/8] (12) |
Transition
Llamada
|[3/8] 1* 2* 3*|(4) (5) 6*| 7* 8* 9* |[2/8]10* (11)|
TUM TUM TUM (walking forward) TUM
(Note that the llamada can be followed by 3/4,6/8,or Jaleo compas phrases; depending on whether one pauses 1,1 or 2 countsafter count 10.
The Desplante is a llamada with a definite form which is extended for another 12 counts, in which the dancer has the freedom to express his/her own pellizco. It is often used either to accompany the cambio of the copla form of the cante, or immediately after. Often the 12 in the transition phrase preceding it is accentuated also:
|(11) (12*)| (transition)
(tum)
-----------
Llamada section (In Jaleo notation)
|[3/8] 1* 2* 3*| 4* 5* (6)| 7 a 8 a 9 a | 10 11 (12)|
TUM TUM TUM TUM TUM tikitikitiki tumtum
(moving forward) (moving back)
Dancer's Pellizco
|[3/8] 1 a 2 3* | 4* (5) (6) | 7* 8* 9 |[2/8] 10* (11)|
tmpty tm Tm Tm (Transition)
("wash hands",
shrug, redoble, vuelta, etc.)
The Desplante is often followed by:
Ay Ay Ay Ay Ay
|[6/8] 12* 1 2 3* 4 5 |(3/4) 6* 7 8* 9 10* (11)|
or: Ay Ay Ay Ay Ay Ay
|[3/4] 12* 1 2* 3 4* 5 |(3/4)6* 7 8* 9 10* (11)|
Since the Desplante often accompanies the Cambio, it also can be written (in 6/8,3/4):
Llamada section ----(Cambio)-----
A Bb A F C7
|[6/8] (12*) 1* 2* 3* (4*) (5*) | [3/4] (6) 7 a 8 a 9 a 10 11 |
(Tum)TUMTUMTUM (TUM)(TUM) tiki tiki tiki tm tm
Dancer's Pellizco
(C7) Bb A
|[6/8] (12) 1 a 2 3* 4* (5) | [3/4] (6) 7* 8* 9 10* (11)|
tmpty tm Tm Tm Tum Tum Tum
("wash hands",shrug, redoble, vuelta etc.)
Dance Sequence for Bulerias
One sequence of dance steps for Bulerias might be:
1. Marking [6/8] -
2. Marking; Singer sings 1st half of copla [6/8,3/4] chording compas on guitar)
3. Cambio/Desplante (2nd half of copla accompanied or followed by desplante)
4. [6/8,3/4] "Ay" steps
5. Footwork sequence (Any kind)
6. [6/8,3/4] (either or both) steps in half circle returning to start
7. Llamada
-------------
(Repeat sequence).
Pellizcos used as for final 12-count compas of the desplante can, of course, be used as pasos in their own right. (As can any thing else).There are an infinite number of approaches, but hopefully the above will give you an orientation, watch for them in videos.....
Bulerias Compas Notes
1. For me, the important thing is that the counting remain consistent (with the understanding that accents (say, dance) from one meter are often contrasted with that from another (say, guitar phrasing), which plays a major part in giving flamenco its exciting polyrhythms....
With the above in mind, it is the time signatures/meter that can change, helping to illustrate the context of the discussion (guitar chords, taconeo, phrasing, etc.) It is the meter that changes, not the counting.
Soleares (e.g.) (at double speed 6/8, 3/4, 3/8)
Guitar Chord Changes (1,4,7,10)
Fmaj7 C Fmaj7 E
(12)|[3/4] 1* 2 3 | 4* 5 6 | 7* 8 9 |10* 11 (12)|
Paseo Castellano (6/4,3,2)
|[6/4] 12* 1 2 3* 4 5 |[3/2] 6* 7 8* 9 10* 11 |
Cante/llamada (anacrusic on 3)
Either kind, depending on the context of the discussion
|[6/4] 12* 1 2 3* 4 5 |[3/2] 6* 7 8* 9 10* 11 |
(12)|[3/4] 1 2 3*| 4 5 6*| 7 8* 9| 10* 11 12*|
These considerations, of course apply to Bulerias at double speed in which case, the meters would be 6/8,3/4, and 3/8) in the 12-Count/Jaleo context I discussed earlier..........
COPYRIGHT 1996 by Charles H. Keyser Jr.
Here's Chuck Keyser's Original Bulerias copla (written while driving across Texas while listening to "Oh Lord, but it's hard to be humble when you're perfect in every way"):
-------------------------------------------------------------
Marking
A Bb A
(12) Madam Please don't squeeze my dung-ar-rees
|[6/8] 12* 1 2 3* 4 5 | [3/4] 6* 7 8* 9 10* 11 |
(1 chording compas)
(Repeat above)
---------------------------------------------------------------
Pellizco/Cambio
(Cambio)
A Bb C7 F
For the fleas --------------- begin to sneeze
|[6/8] 12* 1 2 3* 4 5 | [3/4] 6* 7 8* 9 10* 11 |
F Bb A
sneeze and wheeze in my B V D's
|[6/8] 12* 1 2 3* 4 5 | [3/4] 6* 7 a 8* 9 10* 11 |
(1 chording compas)
(Recap Line 1 for emphasis)
=========================================================================
Dm C
Sneeze and wheeze | Sneeze and wheeze
| [3/4] 12* 1 2* 3 4* 5 | [3/4] 12* 1 2* 3 4* 5 |
Bb A (resolution phrase- 6 -> 11)
SneezeandWheeze in my B V D's
| [3/4] 12* 1 2* 3 a 4* 5 | [3/4] 6* 7 8* 9 10* 11 |
=================================================================
AY! AY!
|[3/4] 12* 1 2* 3aa 4* 5 |[3/4] 12* 1 2* 3aa 4* 5 |
Tmp rpty tmp Tmp rpty tmp
AY! AY! AY!
|[6/8] 12* 1 2 3* 4 5 |[3/4] 6* 7 8* 9aa 10* 5 |
Tmp Tmp Tmp rpty tmp
===================================================================
(substitute OLE for AY if you like)
Oh, BTW, Dancers stick your foot out on the AY............
I also use:
I never saw a purple cowI never hope to see one,
but I can tell you anyhow
I'd rather see than be one. (Ogden Nash)
in Bulerias compas. Not to mention a WHOLE LOT of limericks from various international sources.........
(Exercise for the student.. Select your own and sing them in Compas)
(I use Robert Service usually for Tientos):
There are strange things donein the Midnight Sun
By the men who moil for gold.......
The following letra was actually rejected by Johnny Cash for his World Wide Tour;
(Copyright 1996 "Flamenco Chuck")
--------------------------
Everybody serious, now.......
Line dancers get ready........
Slide guitar intro -------
(Por Farruca ; Am)
I'm a Gypsy Trucker from Sevillaand I carry my navaja by my side
Got a pretty woman waitin' in Triana
Six hours left of danger in this ride
When I was young my father dealt in horses
and took the senoritos for their gold
and now I smuggle hashish for the tourists
But my father knows I haven't sold my soul...
The basic chording compas for Peteneras consists of two 6/8, 3/4 cycles:
Am E7 Am
|[6/8] 12* 1 2 3* 4 5 |[3/4] 6* 7 a a 8* 9 a a 10* (11) |
TUM tum tum TUM tum tum TUM rmpty TUM rmpty TUM tum
G F E
|[6/8] 12* 1 2 3* 4 5 |[3/4] 6* 7 a a 8* 9 a a 10* (11) |
TUM tum tum TUM tum tum TUM rmpty TUM rmpty TUM tum
There are two forms of cante; the older form is more danceable, and has the following form:
Am E7 Am
Dondevas bella Ju-----di---a-------a Tan com-
Am E7
puesta ya des----hor--a
C G
Voy en bus--ca de Re------be---co
F E
Voy en bus--ca de Re------be---co Que es-
Am E7
ta en una syn---a------go--ga
C G
Dondevas bella Ju-------di---a------a Tan com-
F E
puesta ya des-------hor--a
|[6/8] 12* 1 2 3* 4 5 |[3/4] 6* 7 a a 8* 9 a a 10* (11) a |
TUM tum tum TUM tum tum TUM rmpity TUM rmpity TUM tum
The newer form (originated by Nina de los Peines) has a more difficult cante form, and is played with a freer compas.
Here's an example of the Tiniti-Tran for the introduction to Alegrias:
A------------ Ti-ni-ti
| [6/8] (Previous Compas) |[3/4] 6* 7 8* 9 10* a 11 a a |
Rumpity
A ------------------------------------- E7-------------------------
Tran Ti-ni-ti Tran Ti-ni-ti Tran Tran Tran Ti-ni-ti
|[6/8] 12* 1 a a 2 a a 3* 4 a a 5 a a |[3/4] 6* 7 8* 9 10* a 11 a a |
TUM RumptyRumpty TUM RumptyRumpty TUM TUM TUM Rumpity
E7 -------------------------------------- A-------------------------
Tran Ti-ni-ti Tran Ti-ni-ti Tran-------------
|[6/8] 12* 1 a a 2 a a 3* 4 a a 5 a a |[3/4] 6* 7 8* 9 a a 10* (11) |
TUM RumptyRumpty TUM RumptyRumpty TUM Rumpity TUM
(The ti-ni-ti's are on the "a 11 a 12 (1) a 2 a 3 (4)" imitating rasgueado i.e., (1,4 silent)
E7 A
|[6/8] 12* 1 2 3* 4 5 |[3/4] 6* 7 a a 8* 9 a a 10* (11) |
TUM tum tum TUM tum tum TUM Rmpity TUM Rmpity TUM (tum)
The Ida is a transition at the end of an Alegrias Taconeo solo to Bulerias (typically Jaleo) in the older style. You can see Carmen Amaya perform a version of it in her Alegrias in Maria de la O (it happens very fast, so you'll have to keep your eyes peeled).
The transition is from the 12-Count Compas to 3/4, and is best characterized by the transition phrase; I'll write it in 3/8 because the music is going that fast...
Alegrias Finale Taconeo Build up
E7 -------------------------------- A
|[3/8] 1 2 3 | 4 5 6 | 7 8 9 |[2/8] 10 (11) |
Transition
==========================================================
Ida (Transition to Jaleo/Chufla)
A ----------------------- E7--------- A-----
|[3/4] 12* 1 2* 3 4* 5 | 6* (7) a 8* 9* 10* 11* |[1/8] (12) |
TUM TUM TUM TUM ta TUM TUM TUM TUM Transition
F#7---------->Bm----------->G#7--------->C#m-----------
|[3/8] 1*a 2 a 3 a | 4*a 5 a 6 a | 7*a 8 a 9 a | 10*a 11 a 12 |
Tmtytmtytmty tmtytmtytmty tmtytmtytmty tmty tmty tum
E7-----------------------------------A-----
|[3/8] (1) a 2* 3* | 4* 5* (6) | 7* 8* 9aa | 10* (11) (12)|
tyTUM TUM TUM TUM TUM TUM Rmpty TUM
===================================
Jaleo E7----------> A----------
|:[3/8] 1 2 (3) a | 4 5 6 :|, etc..
TUM TUM ty TUM TUM TUM
--------------------------------------------------
(F7 and Bm at 2nd position, G#7, C#m at 4th position)
The Soleares is performed in the Phrygian Mode in the key of E or A (relative to the capo).
The Soleares (like the Alegrias) has a basic 12-count compas accented in a number of different ways, and resolving on count 10. The basic chording compas changes chords on counts 1,4,7,10, and this phrasing is also typical of many guitar falsetas and steps in the taconeo solo of the (theatrical) dance:
Chording Compas
Fmaj7 C Fmaj7 E
|[3/4] 1*a a 2 a a 3 a| 4*a a 5a a 6 a | 7*a a 8 a 9 a a | 10* (11) (12) |
RmpityRmpityTMty RmpityRmpityTMty RmpityTMty Rmpity TUM
1 2 3* 4 5 6* 7 8* 9 10* (11) (12)
There are many other accentuations (often overlaid against each other; e.g; dance vs. guitar chording) of the 12-count cycle, depending on context:
Cante, Llamadas: 1,2,3,7,8,and 10
Paseo Castellano: 12,3,6,8, and 10 (as above)
Taconeo: 3,6,9, and 12, eventually resolving on 10
Taconeo: 1,2,4,5,7,8,10,11 (dobles), eventually resolving on 10
Palmas are often on 1,2,3,7,8, and 10 (like the cante),but another widely used variation is:
C C C C C C C
|[3/4] 1 a 2 a 3 a | 4 5 6 | 7 a 8 9 | 10 (11) (12)|
|[3/4] 12 1 2 3 4 5 | = ("dobles"/Bulerias 6-cycle)
Notice the similarity to Bulerias Dobles in the 1st and 3rd measures (omitting count 5); the same pattern can also be used to accompany Fandangos de Huelva.
(Guitarists - try porting some of your 6-cycle Bulerias falseta sequences into this context...it's fun!)
The Llamada
The Llamada is a chord/dance sequence used as a finale to sections of the dance or as a preparation for cante:
E ------------- (all the way) -----------------------------
|[3/4] 1* 2* 3* | 4 a 5 a 6 | 7*a a 8*a a 9*a a | 10*(11) (12) |
TUM TUM TUM tmtytmtytum RUMPITY RUMPITY RUMPITY TUM
(vuelta(s)) (Pose)
The Cante
There are several variations of the cante; one of the most common (called a "copla" uses a theme/countertheme letra format, with the theme expressed as one
or two lines of a letra (possibly repeated), answered by a counter-theme which incorporates a characteristic chord progression called the "Cambio" (change).
This format is also used extensively in Bulerias.
For example:
---------Theme:------------
Ay, Maria, (ay), el orgullo
que sacabo pa' to' tu vida
(repeat both lines, or just the last for emphasis)
(possibly one cante chording compas)
--------Counter-Theme (Answer) ----:
Ay, que undibel del cielo
paga' lo que debia
(possibly repeated)
-------------------------
The cante compas can be expressed in 6/4, 3/2 as:
|[6/4] (12) 1* 2* 3** (4) (5) |[3/2] (6) 7* 8* 9 10* (11) |
Melodically, count 12 is felt silently as a "mark" or orientation to a melody that begins on count 1, 2 and climaxes on the strongly accented count 3 (anacrusically). Count 6 serves the same purpose in the second half of the compas, but here the strong accents are on 7,8, and 10.
The "cambio" refers to the brief change to the related major (C) in the counter-theme. (It functions like a "hook" or "turnaround" in pop music).
One example of the accompaniment to the above might be:
Theme
E7 Am
Ay MariaAy---------- ElOrgu-ll---o--o
Am G F E Fmaj7 E Fmaj7 E
Ay que sa-----ca-bo pa to' tu vi-da
|[3/4] (12) 1* 2* 3** (4) a (5) |[3/2] (6) 7* 8* 9 10* (11) |
-----------------------------------
Counter-Theme (Cambio) --- Cambio------
E E7 F (E) G7 C
AyQueUn-dibel del cie--------lo
C E7 F (E) Fmaj7 E Fmaj7 E
Pa---ga lo que-e debi-a-----------
|[3/4] (12) 1* 2* 3** (4) (5) |[3/2] (6) a 7* 8* 9 10* (11) |
(Manolo Mairena sings this letra on "Castanuelas Flamencos" for Lucerito Tena, accompanied by Serranito. He is gloriously out of compas, but,then,so am I...)
Note: there are other forms without the explicit cambio (e.g., the Solea of Joaquin el de la Paula sung by Manolito "Ay de noche me salgo al campo...."),
but the melody and chord changes produce the same effect. The latter can be heard on the Vergara anthology, and Chocolate sings it in "Andalusian Journey".
There are excellent examples of Soleares with Cambios in the video "Flamenco" (not the Saura version), available from Arts for the Humanities and sometimes
Tower Records..
Now that you've mastered Straight Palmas, Compas Palmas, and Straight Counterpalmas, it is time for Phrased (In Compas) Counterpalmas. (Just when you thought it was going to stop)...
F= foot, T = tongue, C = Clap
Straight Phrased CounterPalmas
You can use the same format as for Straight CounterPalmas for the 2/4,4/4 and 3/4 Compas structures (e.g.)
C C C C
|:[2/4] 1* a 2 a 3* a 4 a :|
F T F T
C C C C C C
|:[3/4] 12* a 1 a 2* a 3 a 4* a 5 a :|
F T F T F T
Most of the time I use the [3/4] scheme for [6/8] as well (with my foot against the accents), primarily because you never know what is going to happen:
C C C C C C
|:[6/8] 12* a 1 a 2 a 3* a 4 a 5 a :|
F T F T F T
However, if the Compas is predictable, you can tap your foot on the accented beats:
C C C C C C
|:[6/8] 12* a 1 a 2 a 3* a 4 a 5 a :|
F T T F T T
Or, alternating....
C C C C C C C C C C C C
|:[6/8] 12* a 1 a 2 a 3* a 4 a 5 a |[3/4] 12* a 1 a 2* a 3 a 4* a 5 a :|
F T T F T T F T F T F T
[2/4] Compas Structures
C C C
|:[2/4] 1 a 2 a 3 a 4 (a) :|
F T F
[3/4,6/8] Compas Structures
[6/8] Variation ----
C C C
|:[6/8] 12* a 1 a 2 3* (4 5) :| (note similarity to above)
F T F F
If you must tap your foot on 12 and 3 (this is actually more difficult):
C C C
|:[6/8] 12* a 1 a 2 3* (4 5) :|
F T T F
[3/4] Variation
C C C C C
|:[3/4] 12 a 1 a 2 a 3 a 4 5 :|
F T F T F
(Together)
C C C C C C C C
|:[6/8] 12* a 1 a 2 3* 4 5 |[3/4] 6 a 7 a 8 a 9 a 10 11 :|
F T F F F T F T F
(Try this against dobles)
C C C C (Dobles)
C C C C (Contras)
|:[3/4] 12 a 1 a 2 3 a 4 5 :|
F T F T F
(You can also use the above in 12-count contexts by identifying the 6-count cycle starting on 12 with the first measure of the 12-count cycle):
E.g.
| [3/4] 1 a 2 a 3
a | 4 5 6 | 7 8 9 | 10 11 12 | (12-count cycle)
|[3/4]or[6/8] 12 1 2 3 4 5 |, etc. (6- count cycle)
Practice these with your friends, your parents, your dog,......
Use in combination with other Palmas, e.g. Dobles, Phrased Palmas, etc.
The most important Compas Cycles in Bulerias (omitting Jaleo/Chufla) other than the basic 12-count Chording Compas are the 6-count [6/8] and [3/4] cycles. It is convenient to think of them in terms of "question-answer", or "tension-resolution" phrases.A general rule is that either [3/4] or [6/8] phrases can serve as "questions" to be resolved by "answers" (perhaps with a contrasting rhythm), and there can be any number of "questions", repeated in any way, but they all must be resolved in some way to a [3/4] cycle.
(Note: often series of "questions" are in groups of one or three, with the resolution making an even set of two or four cycles.)
These phrases are expressed as chord progressions on the guitar, choreography or taconeo for the dance, and, of course, melody in the cante.
(E.g.)
Dm C Bb A
Bb C Bb A
|[6/8] / / | / / | / / |[3/4] / / / |
12 3 12 3 12 3 6 8 10
(12 2 4 )
Resolution phrases are always [3/4]; that is, a [6/8] phrase never serves as a resolution (this is true of all Flamenco, except for Siguiriyas and Sevillanas).
[6/8] "Question" Phrases
An example of a basic [6/8] phrase is:
|:[6/8] 12* 1 2 3* 4 5 :|
TUM tum tum TUM tum tum
or,
|:[6/8] 12* a 1 a 2 a 3* a 4 a 5 a :|
TUM ty tum ty tum ty TUM ty tum ty tum ty
One of the most important [6/8] "question" phrases is:
|:[6/8] 12* 1 a a 2 3* (4) (5) :|
TUM Rmptytum TA
This is often extended (polyrhythmically):
|:[6/8] 12* 1 a a 2 3* 4* (5) :|
TUM Rmptytum TA TUM
[3/4] "Answer" (Resolution) Phrases
(Again, in a sequence these can often be "Questions" as well)
An example of a basic [3/4] Phrase is:
|:[3/4] 12* 1 2* 3 4* 5 :|
TUM tum TUM tum TUM tum
or,
|:[3/4] 12* a 1 a 2* a 3 a 4* a 5 a :|
TUM ty tum ty TUM ty tum ty TUM ty tum ty
Resolution Phrases
There are three general forms of resolution phrases:
1. Emphasizing 6, 8, and 10 (i.e., 12, 2, and 4)
|:[3/4] 6* 7 a 8* a 9 a 10* (11) :|
TUM tum ty tum ty tum ty TUM
(or, with rasgueo/redoble)
|:[3/4] 6* 7 a a 8 a a 9 a a 10* (11) :|
TUM RmpityRmpityRmpityTUM
(Note that if alternated with the [6/8], it gives the basic Bulerias 12-count compas; all resolution phrases can do this)
A Bb A
|:[6/8] 12* 1 a a 2 3* (4) (5) |[3/4] 6* 7 a a 8*a a 9 a a 10* (11) :|
TUM Rmpty tum TA TUM RmpityRmpityRmpity TUM
2. Emphasizing 6, with a redoble on 9 - 10 (i.e., 6 with redoble on 3 - 4):
|:[3/4] 6* (7) (8*) 9 a a 10* (11) :|
TUM Rmpty TUM
3. Emphasizing 7,8, an 10 (i.e., 1, 2, and 4 ); characteristic of cante.
|:[3/4] (6*) 7* 8* (9aa)10* (11) :|
TUM TUM TUM
or: TUM TUM RmptyTUM
In addition to the above resolution phrases (which again, I stress, can also be used as questions) there can be any variation fitting with the phrasing. For example, one hemiola (3 vs. 4) phrasing typical of Diego del Gastor was (g = golpe):
|:[3/4] (6) a 7 (a) 8 a (9) a 10 (11) :|
g ty tum g ty tum g ty TUM
For footwork, an example of hemiola might be:
|:[3/4] 6 a 7 a 8 a 9 a 10 (11) :|
TUM ty ty TUM ty ty TUM ty TUM
--- hemiola --------|(redoble)-
An example of counter-time:
|:[3/4] 6 a (7) a (8) a (9) a 10 (11) :|
TUM ty ty ty ty TUM
(Counter-time and hemiola can, of course, be continuous through several cycles).
Well, I opened for the Belly Dancer at the Greek House in Goleta (the cultural center of the Western world) last night (sigh....is THIS all there is?). Actually it is the price I have to pay for getting a Flamenco night going on Thursdays (classes begin at 6:30, and degenerate into performance at 8..)
Spiro, the owner/manager is a bouzouki player, and like all Greek musicians (well, guys anyway), the first piece he wants me to accompany is the Zembekiko (a solo dance for guys; sort of like the idea of Farruca). Anyway the process of working out the chord charts got me to define the "compas", which actually is in [9/8].
"What does that have to do with Flamenco?".... some of the churls in the mob will undoubtedly cry out. Ha! Well before I gift you with the compas of Zembekiko, I thought I'd add some stuff for Flamenco to the Addendum, just in case you've been getting bored lately.
Hemiola in [6/8]
(Dancers and cajon players, substitute "Percussive technique" for "note")
Both [3/4] and [6/8] measures can be expressed as sequences of 12 sixteenth notes; the difference is in the way they are subdivided:
|[3/4] 1 a a a 2* a a a 3 a a a |
|[3/4] 12*a 1 a 2* a 3 a 4*a 5 a |
-------- -------- ------- (Phrase marks)
|[6/8] 12*a 1 a 2 a 3*a 4 a 5 a |
------------- ------------
(The first line corresponds to the first measure of a 4-measure 3/4 12-count compas cycle.)
Hemiola adds a more complex accentuation to the [6/8] measure:
|[6/8] 12*a 1 a* 2 a 3* a 4 a* 5 a |
------ ------ ------ ------
(Note that the 12 16th notes are now broken up into 4 phrases of 3 notes each.)
There are lots of fun variations of this idea; by breaking up the sequences:
|[6/8] 12*a 1 a*2 a 3*a 4*a 5*a |
------ ----- --- --- ---
|[6/8] 12*a 1*a 2*a 3*a 4 a*5 a | (reversed)
--- --- --- ----- -----
|[6/8] 12*a 1 a 2*a 3*a 4*a 5 a |
-------- --- --- -------
|[6/8] 12*a 1 a*2 a 3*a*4 a*5 a*| (hemiola/counter-time)
------ ----- - --- -—- -
(Mix and match, or make up your own.....)
These sequences are expressed using the various techniques of Flamenco (thumb- forefinger, alza pua, planta, tacon, pitos, etc., etc.) Of course, any of these sequences can be plugged back into the 4-measure 12-count compas cycle as substitutes for the 3/4 measures (e.g., Solea, Alegrias,....)
Zembekiko
The Zembekiko can be characterized as a [9/8] "compas" cycle, with the compas being broken up into a measure of [2/4] (= [4/8], and a measure of [5/8]. These cycles are further broken up as follows:
C C C C C (palmas, bass; NOT flamenco dobles)
|[4/8] 1*a 2 a*3 a 4*a |
----- ----- ----
C C C C C C
|[5/8] 1*a 2 a*3 a 4*a 5*a |
----- ----- --- ---
Substituting Flamenco Counting, this last line is a 6/8 cycle with the last count left out (note that the palmas are NOT Flamenco):
C C C C C C
|[5/8] 12*a 1 a*2 a 3*a 4*a | ; ("5 a" omitted)
The complete compas cycle, then, is:
C C C C C C C C C C C
|[4/8] 1*a 2 a*3 a 4*a |[5/8]12*a 1 a*2 a 3*a 4*a |
----- ----- --- ------ ----- --- ---
Actually, the music itself is accented as:
C C C C C C C C C C C
|[4/8] 1*a 2 a 3*a 4*a |[5/8]12*a 1 a 2*a 3*a 4*a |
------- ------- ----- ----- --- ---
(Like I always say, you can count it any way you like, as long as it it's my way.........
So next time you go to a Greek restaurant and notice a guy dancing around a glass of ouzo on the floor and looking like he's rolling dice, listen for the music (but the dancer more than likely won't be dancing in compas; especially if the glass on the floor is empty......)
In the Compas Analysis I emphasized counting 6/8 and 3/4 measures in cycles of 12 - 5 to emphasize the internal consistency between these two forms of accentuation throughout Flamenco, and to emphasize the transition from the basic 12-Count cycle for Bulerias.
That understood, another approach that is useful (especially in "Question/Answer" contexts is to count these forms from 6 - 5 (substituting "6" for "12"), e.g.:
----------------------------------------
C C C C (Dobles)
C C C (in Rhythm)
|[3/4] 6* 1 2* 3 4* 5 | ("Question" / Tension)
----------------------------------------
C C (in Rhythm)
|[6/8] 6* 1 2 3* 4 5 | ("Question" / Tension)
----------------------------------------
C C C
|[3/4] 6* 7 8* 9 10* 11 | ("Answer"/ Resolution)
-----------------------------------------
This counting scheme is applicable to those compas forms that use the 6-count cycles as fundamental building blocks in phrasing; Bulerias, Sevillanas, Fandangos de Huelva, and the internal structure of the 12 count 4 x 3/4 measure compas of Solea and the Cantinas family (e.g., when improvising complex musical phrases within Soleares).
E.g., a typical [3/4] Bulerias (A Phrygian) marking "Question" might be counted (6 - 5):
(Chords: Dm, C, Bb, F, etc.)
|[3/4]: 6* (1 2) 3 a a 4 (5) :|
Tum Rmpty Tum
Continuing indefinitely until the (6 - 11) resolution:
A (Resolution Phrase)
|[3/4] 6* 7 a a 8 a a 9 a a 10 (11) |
Tum Rmpty Rmpty Rmpty Tum
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The Sevillanas Compas (e.g. in Am) would be counted:
E7 Am
|[3/4]: 6 a 1 a 2 3 a a 4 (5) :|
Tmty Tmty Tum Rmpty Tum (tm)
with 6/8 in dance and palillos overlaid polyrhythmically as usual.
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This method of counting emphasizes the 6 count nature of the cycles, provided the transitions are understood, with 6 - 5 count serving as the "Question" phrases, and 6 - 11 the count of the resolution phrase.
The Mineras is performed in the key of G# Phrygian mode, which is relative to E Major and C# Minor. It is a toque similar to Taranto; if a partial bar is made at the 1st position (on the 2nd, 3rd, and 4th strings), ligado sequences of a similar nature can be performed. The pattern is familiar to most guitarists as that performed at the 2nd position in A Phrygian Mode por Bulerias. However, unlike A Phrygian Mode, the notes on the (open) 5th string are part of the scale, and can be used for melody, resolving finally to the G# on the 6th string.
The Andalusian Cadence in G# Phrygian Mode is:
C#m -> B -> A -> G#, with "question/answer" A -> G#. The secondary dominants in the key are:
| G#7 -> C#m | F#7 -> B | E7 -> A | G# (resolution) |
The base chord is a G# (a G partially barred at the first position. You can move this up to the 2nd position for the A; leaving the 5th string open provides a major 7th for the A chord, similar to its use por Solea....
As an alternative to the G# Phrygian mode at each position, you can also use the scales to which the secondary dominants resolve (the chords with the roots of the Andalucian Cadence:
"Secondary" Scales:
| C# (Harmonic) Minor | B Major | A Major | G# "Phrygian" = Harmonic Minor |
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One way to get Taranto equivalents in this key is to write the transposed notes of the Taranto chords (e.g., for the open F# in the first position, the notes would be F#, C#, A#, and B, E. The open E makes the chord an F#7, and the open B adds the 11th. (So the chord would be an F#7add11; an F#11 would be a dominant 7th add the 11th note).
Then transpose the notes up to G#, giving G#,D#,C, and C#,F#. Then using a blank guitar chart, write the positions of these notes on the neck. Then experiment with the fingering. Do the same for all chords in the progression.
Then mix and match these chords in progressions. Then make up melodic progressions in the corresponding scales that target the roots and thirds of the chords anacrusically, and then as feminine endings, integrating all your right hand techniques in both Taranto and Tarantas phrasings. Then go practice your picado..........;-)
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It is also worth noting in passing that the (partial) pattern at the first position (made by barring the 2nd, 3rd, and 4th) is the same as that used for A Phrygian at the 2nd position, with which many flamenco guitarists are familiar thru use with Bulerias, etc. (Avoid playing the "open" barred 2nd string, though, as usual for that position) . Scale patterns can then be continued with notes on the (unbarred) 5th string, as per the E Major scale, resolving finally on the G# on the 6th..
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BTW, here's a substition for the G# (or A)chord I like:
0 | | | | | | |
x | |(1)| | 3 | | |
x | | 1 | | | | |
x | |(1)| | | | 4 |
0 | | | | | | |
x | | | 2 | | | |
Chord Notes are:
G#, A, G#, A, D#, E
6th -> 1st string
Kind of a nice ambiguity; suggesting either a G#-9 (G#b9) or an Amaj7 (like Fmaj7 for Solea). (Nino Ricardo does this por Siguiriyas at the third fret...........)
(You can also move the 2nd finger up to A to more strongly suggest the A chord. (Or better, move the 2nd finger from A down to G# to suggest the Q/A sequence). Or better yet, even, move the whole chord up a fret (to 3rd position) to "A" and back down to "G#"............
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The C (on the "open" barred 2nd string at 1st position; an accidental substituting for C#) sounds fine in ligado, both on the 2nd string and on the 5th. It acts as a chromatic sequence similar to C# -> C -> Bb -> A in the A Phrygian mode (as in Bulerias), or G# -> G -> F -> E in E Phrygian.
-----------------------------------
Another useful chromatic sequence on the 2nd and third strings is:
2str 3str
D# -> C#-C-B -> A -> G# (1st position, 2nd and 3rd string), corresponding to:
E -> D-C#-C -> Bb-> A (2nd position, 2nd and 3rd string)
You can also leave out the B (G# Phrygian) for a Moorish Effect (Using the A Harmonic Minor scale, but with the E Phrygian "tonic"). (Leave out the C in A Phrygian.)
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BTW, it is in the key of E Phrygian that this pattern functions as the secondary dominant 7th (to F). - the Bb note in a C7 chord moving to E thru F in a chromatic sequence. i.e.:
3rdstr 4th str
C -> Bb-A-G -> F -> E (2nd position, 3rd and 4th strings).
Leaving out the G gives a slightly different effect (not quite as Moorish, but still an interesting effect.........
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There has been some confusion as to whether it is the Phrygian Mode or the Harmonic Minor scale that is relevant to Flamenco.
The Phrygian Mode is characteristic of the Andalusican Cadence; Am->G->F->E for the E Phrygian Mode. The "question/answer" of the progression is F->E, with the "answer" being an E Major chord (the third of which is G#), rather than E Minor (the third of which is G, used in the Phrygian Mode). In fact, the third of the triad determines the character of the chord; i.e., whether it is major or minor.
The scale used with the "Answer" (i.e. the "tonic"/final) of the Phrygian Mode typically uses the G# of the corresponding E chord, changing the scale to that of A Harmonic minor (the related minor), but ranging from E to E (instead of A to A).
Whether the note G# (i.e. A Harmonic Minor Scale but from E to E) or G (Phrygian Mode) is used in a melody depends on whether an "Andalusian cadence-like" melody is desired (or the G chord is being expressed, e.g., D7->G as secondary dominant progression), or whether the melody expresses the Phrygian "tonic" (e.g., in a resolution phrase. )
Of course, the E chord is also the dominant to the related Am tonic chord, and in this context (as a secondary dominant; E7->Am), the A Harmonic scale would be the one that is relevant......
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In the discussion that follows, I'm focusing on the accentuation of one line of the compas form (12 count cycle), not the over-all structure (copla form (Solea) vs. 6-line letra (Fandangos)). The Fandangos de Huelva is often polyrhythmic, as I had discussed in earlier posts. In the 3/4 accentuation, the accents come on 12,2, and 4, with palmas on 1,2, and 4 (modified Dobles):
-------^ (------^) ------^ (-------^)
C C C C C C
E7 Am G F E
|[3/4] 12* 1 2* 3 a a 4* (5) | 6* 7 8* 9 a a 10* (11) |
Tm tm tm rmpty tm (tm) tm tm tm rmpty tm (tm)
(You can see an example on the Firestone series featuring the Ximenes-Vargas company on the arts channel, among other places. I've tried to indicate rough vocal phrasing by using horizontal lines.)
The Solea cante often has accents on 12, 3, 7,8 and 10 (in 6/8,3/4 notation), with the singer cueing on counts 12 and 6 for subsequent phrases. The melody is anacrusic to counts 3, 8, and 10. The cue points are sometimes sung, and sometimes not. Palmas are on counts 1, 2, 3, 7, 8,and 10, marking this phrasing:
(cue) ----^ (cue)---^ -------^
C C C C C C
E7 Am
|[6/8] (12*) 1 2 3* (4) (5) |[3/4] (6) 7* 8* (9) a a 10* (11) |
tmtmtm tm tm rumpitytmp
Singers will often gravitate to this form when accompanying dancers in Fandangos de Huelva, especially if the dancer is using the similar accentuation in the dance steps (e.g., steps similar to Paseo Castellano in Solea or Alegrias).
Occasionally the cante phrasing will be a mixture, with accents on 12, and 2 but also on count 3:
--------^ ^ ------^
|[3/4] 12* 1 a 2* 3* (4 5) | 6* 7 8* 9*aa 10 (11) |
rmptytmp
While accompanying singers in the bars in Triana in the late 60's (singing Fandangos de Triana) I noticed that even though the cante does not have a strict compas, singers would sometimes mark the phrasing of the cante for themselves with palmas. The marking (a modified dobles), however, was shifted one count early (counts 12,1,3 and 6,7,9), with the emphasis in 6/8 (counts 12, 3, 6, 9):
C C C C C C
|[6/8] 12* 1 (2) 3* (4 5) | 6* 7 8 9* (10 11) |
In commercial transcriptions of Paco de Lucia (and others') Rumbas in the keys of Em/B Phrygian Mode, one often finds chord progressions such as Am7 -> B7. The notes of the Am7 chord are A,C,E and G, with the G being the note added from the A (natural) minor scale. A typical example of the Am7 chord is that made by forming an Am in the open position, lifting the 3rd finger, thus providing the open G to the chord.
A typical chord progresson in Em/B Phrygian is C->B7 (corresponding to F->E7 in Am/E Phrygian). Since the notes of the Am7 chord are identical to that of the C6 chord (C,E,G,A, with A the sixth degree of the C major scale), it makes more sense for me to think of this chord as a C6 chord in the progression C6->B7, or C6->D6->C6->B7, where the D6 is made by barring the chord at the 2nd fret. (Here the C6 can be thought of as a open position C chord with an open 5th string; the note A is in the (guitar) bass, so it can be notated C6/A). This chord can then be seen as a natural substitution for C->B7, or C->D->C->B7, which are progressions typical for Flamenco in that key (B Phrygian).
(Note: Am is the sub-dominant of the related minor (Em) to B Phrygian, but is not functioning as such in the above context).
In the six-line Fandanguillos, the first line is sometimes introduced by the singer in an abbreviated form; with the dancer answering with a redoble. The first line is often a suggestion of the third, in the form ABACDE. The first "A" would be a six count compas phrase, followed by the traditional 5 12-count compas lines.
The 12 Count lines can be two 6-count measures (either in 6/8 or 3/4; these are usually derived from Escuela, Jota, or even Sevillanas), or 12 Count measures in 6/8,3/4 similar to Solea Paseo Castellano steps.
For example, in the letra (ABACDE):
A: Con locura
B: Tu tratas me como nino
A: porque te quiero con locura
C: tu me tiras por los suelo
D: que malamente me miras
E: tanto como yo te quiero
For example:
(A) Con Lo--cu----ra (redoble)
|[3/4] 12* 1 and 2* 3 a a 4* (5) |
Tum tumty tum rmpty tmp
followed by:
5 lines of 12-count 6/8,3/4 Paseo (or mixed sequences - 2 measures of 6/8, or 3/4, etc.)
| [6/8]: 12* 1 2 3* 4 5 |[3/4] 6* 7 8* 9 10* 11 :| (5 lines)
One exercise for triplet rasgueado (P,ma,p) I've used isn't triplets at all but hemiola. For example, in Jaleo compas you might play (remembering that a can be m,a as well):
P = Thumb upstroke (alza pua)
a = ring, or middle-ring combo
p = Thumb downstroke
Bb A Bb A
P a p P a p P P a p P a p P
|[3/8] 1 a 2 a 3 a | 4 (5 6) | 7 a 8 a 9 a |10 11 12 |
In [6/8, 3/4] you might practice (A Phrygian Mode):
Chords are: Dm, C, Bb
P a p P a p P a p P a p
|[6/8]: 12 a 1 a 2 a 3 a 4 a 5 a :|
(A - Resolution Phrase in triplets)
P P a p P a p P a p P
|[3/4] 6 7 a a 8 a a 9 a a 10 (11 12)
Tum Rmpty Rmpty Rmpty Tmp
The hemiola technique vis-a-vis Jaleo can also be doubled to substitute in Alegrias (Solea por Bulerias, etc.) where the tempo is too fast for doubled triplets, but too slow to use doublets or single triplets (in relation to the count) effectively:
a p P a p P a p P
|[3/4] 1 a a a 2 a a a 3 |, etc.....
| 4 a a a 5 a a a 6 |
P a p P a p P a p P a p P
|[3/4] 7 a a a 8 a a a 9 a a a | 10 ( 11 12 ) |
(Personal note: a good triplet requires (for me) a thick callous on my right thumb, which is great for the other thumb techniques as well. When I''m not accompanying dancers for an extended period of time (as at present), the callous goes away, and it takes a couple of weeks of VERY sore thumb to develop it again. But the good news is that once developed, the technique is like riding a bicycle... it always comes back...)
It might be worth making a distinction between the following rhythm sequences. I'll illustrate por Bulerias, but the ideas can be extended to other Flamenco palos, with appropriate changes in phrasing, tempo, etc.
For Examples:
* = accents, or Golpes (Baile)
Dobles por Bulerias (6/8,3/4 ; 6/8 measure)
|[6/8] 12 1* 2* 3 4* 5* |[3/4] (6) 7* 8* 9 10* (11*) |
(6/8 measure can be felt as hemiola against implied 3/4)
Dobles por Jaleo,Chufla
|[1/8] (12) |[3/8] 1* 2* 3 | 4* 5* 6 | 7* 8* 9 |[2/8] 10* (11*) |
Hemiola por Bulerias (6/8 measure)
|[6/8] 12* a* 1 a* 2* a 3* a* 4 a* 5* a |[3/4] 6* (7 8) 9aa10* (11) |
vuelta redoble
Hemiola por Jaleo, Chufla (note shift by one count)
|[1/8] (12) |[3/8] 1* a* 2 a* 3* a | 4 a* 5* a 6* a | 7* a* 8 a* 9* a |[2/8] 10* (11) |
(You can also make the transition back on count 6 to finish it with a vuelta/redoble as above)
Counter-Time
(Countertime is often entered and finished on the count:)
Countertime in 6/8,3/4:
|[6/8] 12* a* 1 a* 2 a* 3 a* 4 a* 5 a* |[3/4] 6* (7 8) 9* 10* (11) |
Note the beginning golpe on 12, and the ending Golpe on 6.
Similarly, in Jaleo:
|[3/8] 1* a* 2 a* 3 a* | 4* (5 6) | 7* a* 8 a* 9 a* 10* (11 12) |
|[3/8] 1* a* 2 a* 3 a* | 4 a* 5 a* 6 a* | 7 a* 8 a* 9 a* 10* (11 12) |
Many Bulerias pellizcos are two counts long (the length of a redoble or a vuelta). A cliche example might be the swishing of the skirt back and forth for the women or the same thing for jacket coat-tails for the men.
A most common place in the compas cycle for these pellizcos is on counts 3-4 of the six count cycle (or 9-10 of a 12 count cycle), with emphasis on the second count. For example, a golpe on count 12 (= 6), freeze until count 8, then finish with 3aa4).
(|[3/4]: 12* (1) (2) 3* 4* (5) :|
These cycles can be repeated; other examples might be doffing a cap on 3-4, bouncing a walking stick and grabbing it, throwing a scarf around your neck (as in "Carmen" in the fiesta scene), flicking an insect (symbolizing a rejected flirtation) of the shoulder, kneeling on 12 and pointing to either side on 3-4 (e.g. Funi - but see below), or anything else with stage props are braceo/hand gestures you might think of.
Another common place for these same pellizcos is on counts 2-3 in the 12 count cycle (perhaps even answering with a different pellizco as per the version above, or continuing with even more 6/8 pellizcos before resolving:
|[6/8]: (12*) 1 2* 3* (4) (5) :|[3/4] (6*) (7) (8) 9* 10* (11) |
Finally, in the "cante" compas, the pellizco can be performed on 7-8 with a final gesture on count 10 (e.g., a backwards hop):
|[6/8]: (12*) 1 2* 3* (4) (5) :|[3/4] (6) 7* 8* (9) 10* (11) |
This is just a basic form for pellizcos, but it surprising how much mileage you can get from it - the basic considerations are the two count nature of the pellizco, and its position within the compas cycle(s).
As I was scraping PdL's Cepa Andaluza off the tape as an exercise, I noticed a chord phrasing I hadn't heard often, and then realized it was another rhythmic phrasing for pelizcos I had often seen in Madrid (in Amor de Dios).
This particular phrasing is a variation in [3/4] compas. I think the best way to explain it is to start with a basic Buleris step (I call it the Gypsy 3-step).
In Bulerias there is a very common 3-count step that (e.g.) consists of a golpe with the right foot, a planta with the left foot behind, followed by another right foot golpe, then repeated to finish the phrase (often while performing dobles, or braceo like Farruco Jr. Jr...):
R L R L R L
|[6/8]: 12* 1 2 3* 4 5 :|
(You can see Farruco teaching his grandson this step in the studio in "Andalusian Journey. And of course, it (can be)/is used for pellizcos.) The step can be "doubled" for a hemiola effect:
R L R L R L R L R L R L
|[6/8] 12* a 1 a 2 a 3* a 4 a* 5 a |
Rhythmic variations of this step (it is a very simple one) are also used extensively throughout Flamenco (e.g., Tangos, Rumba), e.g. (counts 1,3,4):
R L R L R L
|[2/4] 1* 2 3* 4 | 1* 2 3* 4 |, etc.
(This step is sometimes started with the planta in a 2/4 context)
The step of interest is a variation on the 3/4 6- count cycle of Bulerias (on counts 2,3,4):
R L R
|[3/4] 12 (1) 2* 3* 4* (5) |
Paco de Lucia espresses this with chromatic chord progression: e.g. (Bb,A,Bb)-> (C,Cb,C)->(Bb,A,Bb)-> (picado resolution phrase). It is interesting, because it is not really coordinated with the dobles expression in 6/8, but rather is a strong expression of 3/4 compas resolving toward count 4 (=10 in a 12-count phrase). A pellizco is often performed on count 12 to be "answered" by the footwork on 2,3,4. Also (5,12) or (12,1) for a two count pellizco.