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Thread: Thoughts About Cante Flamenco

  1. #106
    Senior Member Casebearer's Avatar
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    Not Cante Flamenco per se because she's a dancer but Rocío Molina is quite a phenomenon that takes Flamenco three steps beyond...

    I'll just post this one but read some more about her yourself....

    Last edited by Casebearer; Jan-16-2017 at 06:55.

  2. #107
    Senior Member Strange Magic's Avatar
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    Default El Polo: Cante Grande, Cante Gitano(?)

    In The Art of Flamenco, Donn Pohren devotes considerable space to a discussion of both the Caña and the Polo, two palos very similar to one another and closely linked to Soleares. I have also recently reread a discussion of the Polo on Brook Zern's much more current blog. Both sources agree that both the Polo and the Caña are very old, but their origins are shrouded in mystery. Some hold that they existed in pre-Arab Spain and were adopted by the Arabs and then re-inherited by their Andalusian successors. Others say they are exclusively of Arab origin. Yet what of their close relationship with the allegedly gitano Soleares? That is explained as the gypsies discovering the earlier palos and adopting them as their own, mirroring Soleares.

    Anyway, there is both a formal quality to the Polo and the Caña, somewhat unlike many other palos, but also a haunting melodiousness that I find they share with Serranas (and also certain Soleares). As we have heard a most excellent and typical Caña sung by Rafael Romero, and as I am fond of the Polo also, I offer here four examples, as sung by four masters of traditional cante: First we hear a giant of cante, the payo master Pepe el de la Matrona sing a variant Polo de Tobalo, ending with a macho, which is a singer's distinctive closing verse with which he/she may traditionally end a particular palo:
    https://m.youtube.com/watch?v=lQLPGWWIriY

    Next, a Polo by another payo giant, El Niño de Almaden, also known as Jacinto Almaden:
    https://m.youtube.com/watch?v=dO6pndTN2c8

    Then the young José Menese:
    https://m.youtube.com/watch?v=Pkw_6nHqqzM

    And finally, the master of all such palos, Rafael Romero sings:
    https://m.youtube.com/watch?v=EVjFCF2b8cw

  3. #108
    Senior Member Strange Magic's Avatar
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    Default The Flamenco Guitar

    This article has focused on cante as the heart of flamenco. But the accompaniment, the toque on guitar is the other essential for those palos that are accompanied, and herewith is the link to Wikipedia's fine entry on the construction of the flamenco guitar, its differences to classical guitars, and some information about techniques used in playing the instrument. One of the key points of difference between classical and flamenco guitar is that the strings of the flamenco guitar are closer to the soundboard than those of the classical guitar--this also to reduce the sustain of the guitar: as notes are rapidly played, they need to just as rapidly decay in flamenco, whereas classical guitar often has the opposite requirement.

    I know nothing myself about guitar, other than what my ears and eyes tell me, but I am always astounded by the virtuosity of workaday flamenco guitarists as they play, accompanying their singing partners. Ligado, the technique of playing notes with the left hand while simultaneously holding other strings down on the frets with the other fingers, is particularly intriguing. I also appreciate golpe, the striking of the soundboard with a finger while playing, to give emphasis to a run of notes; it helps to make flamenco so emotionally rich.

    https://en.m.wikipedia.org/wiki/Flamenco_guitar

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