Back to Blog
![]() The Jerezano singer Don Antonio Chacón created a version of Grana'inas known as the Media Grana'ina.Įarly recordings of this form describe it as either a "malagueña-granadinas" or a "granadinas-malagueñas," underscoring the similarity between the forms. Often performed as a guitar solo, Grana'inas isn't known as a dance form.Īs the name indicates, the song is associated with Granada, and in particular with Frasquito Yerbabuena (1883-1944), an amateur singer from Granada. Grana'inas, (the Andalucían pronunciation of "Granadinas"), is a Fandango cante similar to the Malagueña. Tangos por Tarantos - Tangos por Tarantos can be long or short, following the same choreographic structure as tangos gitanos. ![]() The dancer ends the second escobilla with a subida, building up the tempo to transition into the Tangos por Tarantos. Second Letra - T he second letra is identical in structure to the first letra.įalseta/Second Escobilla - For the second escobilla, the dancer can dance to a falseta on the guitar, or they may perform footwork accompanied by a traditional tarantos escobilla pattern on the guitar, and they often do both. The singer has the freedom to extend or shorten a line, and the dancer has to improvise movement that complements the singer's performance.įirst Escobilla - Dancers usually perform the first long footwork section to this traditional falseta: The other challenge for the dancer is in intepreting the singer's cante. The music and rhythmic patterns for these remates has become standardized over time, and it is the guitarist's responsibility to support these quick transitions while the focus moves from singer to dancer and back again. The faster, rhythmic passages in the tarantos samples above are remates. While the singer is singing, the underlying pulse becomes subtle, elastic, and essentially arhythmic.Īdding to this challenge, and at the end of the 1st, 3rd and 5th lines of the letra, the dancer performs quick and rhythmic remates that burst out and quickly fade back into the slow 2/4 pulse. For this reason, the tarantos is one of the most difficult dances in flamenco. This cue can also be as simple and subtle as a glance or gesture.įirst Letra - The focus in a tarantos letra passes back and forth between the singer and dancer. Llamada - singer's cue - Once a dancer has taken the stage, they will often perform a long series of footwork sequences ending with a llamada, a cue directed to the singer and musicians to begin the first letra. The dancer's entrance, the entrada or salida, can be as simple as a dramatic walk on stage, or it can be ornate and full of turns and footwork. The dancer will enter when the guitarist begins, when the singer begins, or wait until after the temple. Opening Falseta/Temple - A tarantos opens with a guitar falseta, which may or may not adhere to the underlying 2/4 pulse. In this case, G becomes the tonal center.īaile When a dancer is present, Tarantos traditionally proceeds through a series of sections, including the following: ![]() These passing harmonies are important in the sense that they help to define the style, but they are not functionally essential, and many guitarists choose a simpler approach to accompaniment.Īs with the Fandangos de Málaga, the mode changes to the major once the letra begins. The guitarist may move through many passing harmonies between those points at which they directly support the singer. The journey between these points provides opportunities for expressive display. The guitarist's role in accompanying a Tarantas is to support the singer as they move from one tonal point to the next. ![]() This often includes an idiomatic musical gesture not usually found in other phrygian forms, where the singer and guitarist slide down from F# to F and back to F#. This is followed by a temple in which the singer further establishes that tonality. A taranta usually begins with an introduction on the guitar that establishes the F# phrygian tonality. This expressive form provides both singers and guitarists opportunities for virtuosic display.
0 Comments
Read More
Leave a Reply. |