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Rhythmic Foundation and Accompaniment
Introduction To Flamenco: Rhythmic Foundation and Accompaniment by "Flamenco Chuck" Keyser P.O. Box 1292 Santa Barbara, CA 93102 [email protected] http://users.aol.com/BuleriaChk/private/flamenco.html © Charles H. Keyser, Jr. 1993 (Painting by Rowan Hughes) Flamenco Philosophy IA My own view of Flamenco is that it is an artistic expression of an intense awareness of the existential human condition. It is an effort to come to terms with the concept that we are all "strangers and afraid, in a world we never made"; that there is probably no higher being, and that even if there is he/she (or it) is irrelevant to the human condition in the final analysis. The truth in Flamenco is that life must be lived and death must be faced on an individual basis; that it is the fundamental responsibility of each man and woman to come to terms with their own alienation with courage, dignity and humor, and to support others in their efforts. It is an excruciatingly honest art form. For flamencos it is this ever-present consciousness of death that gives life itself its meaning; not only as in the tragedy of a child's death from hunger in a far-off land or a senseless drive-by shooting in a big city, but even more fundamentally in death as a consequence of life itself, and the value that must be placed on life at each moment and on each human being at each point in their journey through it. And it is the intensity of this awareness that gave the Gypsy artists their power of expression. -
Many of Us Are Familiar with Popular Major Chord Progressions Like I–IV–V–I
Many of us are familiar with popular major chord progressions like I–IV–V–I. Now it’s time to delve into the exciting world of minor chords. Minor scales give flavor and emotion to a song, adding a level of musical depth that can make a mediocre song moving and distinct from others. Because so many of our favorite songs are in major keys, those that are in minor keys1 can stand out, and some musical styles like rock or jazz thrive on complex minor scales and harmonic wizardry. Minor chord progressions generally contain richer harmonic possibilities than the typical major progressions. Minor key songs frequently modulate to major and back to minor. Sometimes the same chord can appear as major and minor in the very same song! But this heady harmonic mix is nothing to be afraid of. By the end of this article, you’ll not only understand how minor chords are made, but you’ll know some common minor chord progressions, how to write them, and how to use them in your own music. With enough listening practice, you’ll be able to recognize minor chord progressions in songs almost instantly! Table of Contents: 1. A Tale of Two Tonalities 2. Major or Minor? 3. Chords in Minor Scales 4. The Top 3 Chords in Minor Progressions 5. Exercises in Minor 6. Writing Your Own Minor Chord Progressions 7. Your Minor Journey 1 https://www.musical-u.com/learn/the-ultimate-guide-to-minor-keys A Tale of Two Tonalities Western music is dominated by two tonalities: major and minor. -
The Global Reach of the Fandango in Music, Song and Dance
The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011. -
Flamenco Music Theory Pdf
Flamenco music theory pdf Continue WHAT YOU NEED TO KNOW:1) Andalusian Cadence is a series of chords that gives flamenco music its characteristic sound: In Music, a sequence of notes or chords consisting of the closing of the musical phrase: the final cadences of the Prelude.3) This progression of chords consists of i, VII, VI and V chords of any insignificant scale, Ending on V chord.4) The most commonly used scale for this chord progression is the Harmonic minor scale (in C minor: B C D E F G))5) The most common keys in flamenco are the Frigian, known as Por Medio in flamenco guitar, and consisting of Dm, C, Bb. Another common key is E Phrygian, known as Por Arriba on Flamenco guitar, and consisting of Am, G, F, E. E Phrygian (Por Arriba) is often used in Solea and Fandangos Del Huelva.THE ANDALUSIAN CADENCE: Today we will discuss really common chords and sound in flamenco: Andalus Cadens! Learning more about this sound will help the audience better appreciate flamenco music, provide flamenco dancers with a better understanding of the music that accompanies them, and non-flamenco musicians some basic theory to incorporate flamenco sounds into their music. At this point, if you want to skip the theory and just listen, go to LISTENING: ANDALUSIAN CADENCE IN THE WORLD. I would recommend reading the pieces of the theory just for some context. MUSIC THEORY: CHORD PROGRESSIONThic series of four chords is so ubiquitous in flamenco that anyone who listens to it should know it when they hear it. -
Representative List
Representative List Original: English and French CONVENTION FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE INTERGOVERNMENTAL COMMITTEE FOR THE SAFEGUARDING OF THE INTANGIBLE CULTURAL HERITAGE Fifth session Nairobi, Kenya November 2010 NOMINATION FILE NO. 00363 FOR INSCRIPTION ON THE REPRESENTATIVE LIST OF THE INTANGIBLE CULTURAL HERITAGE IN 2010 A. STATE(S) PARTY(IES) For multi-national nominations, States Parties should be listed in the order on which they have mutually agreed. Spain B. NAME OF THE ELEMENT B.1. Name of the element in English or French This is the official name of the element that will appear in published material about the Representative List. It should be concise. Please do not exceed 200 characters, including spaces and punctuation. The name should be transcribed in Latin Unicode characters (Basic Latin, Latin-1 Supplement, Latin Extended-A or Latin Extended Additional). Flamenco B.2. Name of the element in the language and script of the community concerned, if applicable This is the official name of the element in the vernacular language corresponding to the official name in English or French (point B.1.). It should be concise. Please do not exceed 200 characters in Unicode (Latin or others), including spaces and punctuation. EL FLAMENCO RL10 – No. 00363 – page 1 B.3. Other name(s) of the element, if any In addition to the official name(s) of the element (B.1.) please mention alternate name(s), if any, by which the element is known, in Unicode characters (Latin or others). CANTE JONDO C. CHARACTERISTIC OF THE ELEMENT C.1. Identification of the communities, groups or, if applicable, individuals concerned According to the 2003 Convention, intangible heritage can only be identified with reference to communities, groups or individuals that recognize it as part of their cultural heritage. -
Flamenco Jazz: an Analytical Study
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2016 Flamenco Jazz: an Analytical Study Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/306 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Journal of Jazz Studies vol. 11, no. 2, pp. 29-77 (2016) Flamenco Jazz: An Analytical Study Peter Manuel Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label 1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world. -
Evolution and Structure in Flamenco Harmony
Evolution and Structure in Flamenco Harmony By Peter Manuel The unprecedented vogue and revitalization of flamenco since the early 1960s have generated a considerable amount of scholarly literature on the subject, written primarily by Spaniards. These studies, while contributing greatly to our understanding of flamenco in its historical and social context, have tended to avoid less overtly humanistic subjects, including any analyt ical discussion of the structural aspects of flamenco as music per se. Hence, such a topic as the structure of flamenco harmony has received only passing mention in flamenco studies or oblique reference in guitar manuals. While flamenco musicians themselves are generally uninterested in theo rizing about their music, flamenco harmony is one of the most crucial expres sive aspects of the genre and certainly merits some study in this regard. On a broader level, an inquiry into flamenco harmony may reveal some of the- processes by which musical acculturation and instrumental idiosyncracies can generate a syncretic and highly distinctive harmonic system. This article addresses certain aspects of the development and present form of flamenco harmony. In brief, it advances two hypotheses: first, that flamen co harmony is a syncretic product of Arab modal practice and European harmony, and second, that many of the most distinctive features of the har monic system, and in particular the use of altered chords, have arisen in direct connection with idiosyncratic characteristics of the guitar. The first of these theses, although difficult to document, is hardly original, and indeed, is widely taken for granted among flamenco scholars. Before proceeding direct ly to these arguments, some introduction to flamenco harmony and style may be appropriate here. -
Andalucía Flamenca: Music, Regionalism and Identity in Southern Spain
Andalucía flamenca: Music, Regionalism and Identity in Southern Spain A thesis submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Matthew Machin-Autenrieth © Matthew Machin-Autenrieth 2013 Tables of Contents Table of Contents i List of Plates iv List of Examples iv List of Figures v Conventions vi Acknowledgments viii Abstract x Introduction 1 PART ONE Chapter One: An Overview of Flamenco 6 The Identities of Flamenco 9 The Materials of Flamenco 12 The Geographies of Flamenco 19 The Scholars of Flamenco 25 Chapter Two: Music, Regionalism and Political Geography 36 Political Geography and Music 37 Region, Regionalisation and Regionalism 43 Regionalism and Music 51 The Theoretical Framework 61 Conclusions 68 Chapter Three: Methodology 70 Virtual Ethnography: In Theory 70 Virtual Ethnography: In Practice 79 Field Research in Granada 86 Conclusions 97 Chapter Four: Regionalism, Nationalism and Ethnicity in the History of Flamenco 98 Flamenco and the Emergence of Andalucismo (1800s–1900s) 99 Flamenco and the Nation: Commercialisation, Salvation and Antiflamenquismo 113 Flamenco and Political Andalucismo (1900–1936) 117 Flamenco during the Franco Regime (1939–75) 122 Flamenco since the Transition to Democracy (1975 onwards) 127 Conclusions 131 i Chapter Five: Flamenco for Andalusia, Flamenco for Humanity 133 Flamenco for Andalusia: The Statute of Autonomy 134 Flamenco for Humanity: Intangible Cultural Heritage 141 The Regionalisation of Flamenco in Andalusia 152 Conclusions 169 PART -
Music Theory - Why Bother? on Music Theory in Relation to Music Information Processing
Music Theory - Why bother? On Music Theory in relation to Music Information Processing Sven Ahlbäck, Doremir Music Research AB Prof. Royal College of Music, Stockholm 1 This project has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No 765068. • My background There is no such • What is this about? thing as a conceptual • Why is this in the summer vacuum school? Agenda • No, this will not be a full course or crash course in Music Theory • Aim: introduce some issues, discuss basic concepts and give some overview • Today: Introduction to approaches in the field of music theory and the possible relevance for MIR • Thursday: Pitch and Tonality - Sven Ahlbäck • How to study a music culture: Indian Classical music, by Rafael Caro • Friday: Rhythm & Structure - Sven Ahlbäck Topics for the workshops in afternoon sessions are connected • Harmony • Melodic similarity • Rhythm An example manual learning task: Transcription using your built-in biological system listen sing notate what we sing notate what we hear 200 300 200 300 200 intervals in cents (1/100 semitone) (”anhemitonic pentatonic scale”) How did it really sound? Examples Equidistant pentatonic pitch set Court music Uganda Moçambique 240 240 240 240 Studies of tuning & perception (Cooke 1970, Wachsmann 1971 Kubik 1960, Valkare 2016 etc.) What happened? Ex. Tongoli Fumbo Adhola Music: Fur ber Tongoli harp So what’s the ground truth here? ”There are only semitones and whole tones” Our perception is influenced by music theoretical concepts We hear what we know How does this relate to MIR? If models we use model human cognition, and human cognition is related to concepts originating from music theory, it might not be out of the way to be know a little about it? You might want to contribute to knowledge about music. -
Common Chord Progressions
COMMON CHORD PROGRESSIONS SECTION 1 000. 50's Progression I - vi - IV - V 001. Circle Progression I6 - IV - VII° - iii - vi6 - ii - V6 - I 002. ii - V - I Turnaround ii - V - I - I 003. V - IV - I Turnaround V - IV - I - I 004. Pachelbel's Canon I - V - vi - iii - IV - I - IV - V 005. Ragtime Progression VI7 - II7 - V7 - I 006. Pop-Progression I - V - vi - IV 007. Progr. I - V I - V - I - V 008. Progr. I - IV - V - I I - IV - V - I 009. Progr. I - IV - I - V I - IV - I - V 010. Progr. I - vi - IV - V I - vi - IV - V 011. Progr. I - V - vi - IV I - V - vi - IV 012. Progr. vi - IV - I - V vi - IV - I - V 013. Progr. I - vi - ii - V I - vi - ii - V 014. Progr. V - I - iii - iV V - I - iii - IV 015. Progr. I - V - ii - V I - V - ii - V 016. Progr. I - IV - vi - V I - IV - vi - V 017. Progr. vi - V - IV vi - V - IV - V 018. Andalusian cadence iv - #II - #I - I 019. Backdoor progression ii - #VI7 - I - I 020. Circle progression 2 vi6 - ii - V6 - I 021. Eight-bar blues I - V - IV - V7 - I - V - I - V7 022. Romanesca I - V - vi - III - I - V - III - vi 023. Hotel C. vi - III - V - II - IV - I - ii - III 024. Progr. I - ii - iii - IV I - ii - iii - IV 025. Progr. I-ii-iii-IV-VIb-VIIb-I-I I - ii - iii - IV - #V - #VI - I - I 026. Progr. -
“Fiesta De Verdiales” Bien De Interés Cultural
DOCUMENTACIÓN TÉCNICA PARA DECLARAR LA “FIESTA DE VERDIALES” BIEN DE INTERÉS CULTURAL DOCUMENTACIÓN TÉCNICA PARA LA INSCRIPCIÓN DE “LA FIESTA DE VERDIALES” EN EL C.G.P.H.A DIRECCIÓN GENERAL DE BIENES CULTURALES Servicio de Protección del Patrimonio Histórico Departamento de Catalogación e Inventario EXPEDIENTE DE DECLARACIÓN DE BIEN DE INTERÉS CULTURAL DENOMINACIÓN: FIESTA DE VERDIALES CATEGORÍA: ACTIVIDAD DE INTERÉS ETNOLÓGICO PROVINCIA Málaga Francisco Manuel Llorente Marín. Antropólogo social AUTORES FECHA: Noviembre 2009 Juan Antonio Pedrajas Pineda. Técnico de cartografía 2 ÍNDICE DE CONTENIDO 0. ANTECEDENTES ADMINISTRATIVOS ……………………………….….…...5 1. LOCALIZACIÓN …………………………………………………………….….…6 2. DENOMINACIÓN …………………………………………………………….…...7 3. TIPOLOGÍA O CLASIFICACIÓN ………………………………………….…....7 4. JUSTIFICACIÓN DE LA INSCRIPCIÓN DE LA ACTIVIDAD EN EL CATÁLOGO GENERAL DEL PATRIMONIO HISTÓRICO DE ANDALUCÍA ………………………………………………………………………8 5. DESCRIPCIÓN DE LA ACTIVIDAD …………………………………………..13 5.1. La fiesta de verdiales ...................................................………………..13 5.2. Las pandas ………………………………………………………...…..……18 5.3. Modalidades de fiesta …………………………………………………..…24 5.3.1. Modalidad Montes ……………………………………………...…....24 5.3.2. Modalidad Almogía……………………………………………..…....26 5.3.3. Modalidad Comares…………………………………………….....…27 6. ELEMENTOS VINCULADOS A LAS PANDAS Y A LA FIESTA DE VERDIALES ………………………………………………………..……….……30 6.1 Objetos de interés etnológico …………………………………………...30 6.1.1. El sombrero de verdiales……………….....……...…………………30 6.1.2. La vara de mando o vara de alcalde….…...…………………….…31 6.1.3. La bandera……………….……….……………………………….….31 6.1.4. La caracola……………………………………………………………31 6.2 Instrumentos musicales ………………………………....………..…......32 6.2.1 El pandero……………………………………………….…..……..…32 6.2.2 El violín…………………………………………………………...…...32 6.2.3 Los platillos……………………………………………………….…..33 6.2.4 Las castañuelas…………………………………………………..….33 6.2.5 La guitarra……………………………………………………….…....33 6.2.6 El laúd y/o bandurria…………………………………………….......34 6.3 Las coplas ….……………………………………………………………….34 7. -
L-TMFE Muestra Sample.Pdf
RITMO FAMILIA RÍTMICA EN COMPÁS TERNARIO. CANTES REPRESENTATIVOS Fandangos Los Fandangos de Huelva son los más representativos de la familia rítmica de palos ternarios. Tienen su origen en los Verdiales, utilizando el mismo compás que estos últimos, con una diferencia significativa que radica en la ubicación de los cambios armónicos dentro del compás: mientras que en los Verdiales y en las Malagueñas para baile coinciden armonía y acentos rítmicos - ambos ternarios-, en los Fandangos los cambios armónicos y la rítmica se contradicen -armonía binaria y ritmo ternario-. Lo mismo sucede en las Sevillanas y en otros bailes de la escuela bolera española, todos ellos en compás ternario, en los que ciertos cambios armónicos se producen en la parte más débil del compás. (Ver Sevillanas en el capítulo ARMONÍA) El ciclo rítmico correspondiente al estribillo instrumental propio del Fandango, al que podríamos llamar compás de Fandango, es un compás de doce tiempos, agrupados de tres en tres, de lo que resultarían cuatro compases de 3/4 si se usa este compás en la trascripción. El esquema del patrón rítmico es el siguiente: Otras trascripciones posibles son las siguientes: Ejemplo de estribillo instrumental de Verdiales para piano con el acompañamiento propio de estos cantes, llamado “abandolao”: 1 ARMONÍA Alegrías1 Las Alegrías surgieron del aflamencamiento de la jota aragonesa, en un proceso en que el 3/4 de la jota se convierte en compás de doce, mediante la asimetría de acentos característica de este compás flamenco. La armonía de las coplas (I / I / I / V / V / V / V / I), que permanece similar a la de la jota, está sujeta a la fórmula pregunta-respuesta, en la que a los primeros cuatro acordes de la pregunta (I I I V) le corresponden sus contrarios en la respuesta (V V V I).