As born flamenco

19 Oct As born flamenco

The musical elements that nourish the flamenco must discover or detect in time investigating, documenting in the historical and musicological order to compare the musical key that contains the flamenco music.

Alfonso X the Wise

We decipher the music closest in time, ie contemporary Spanish, European and Latin American as well have investigated the Hurtado Brothers in his wonderful book “The key to flamenco music.” In this regard it is noted as the technique of the sound of the Baroque guitar is very present in the Flemish between the seventeenth and nineteenth centuries this way to play the strings has been defining and refining the way of cultural processes and Today it is still produced other slow changes in the evolution of guitar playing.

Old influences

Flamenco is fraught legacies musical elements for all the peoples who have inhabited their land, leaving traces of the love of music in paintings, reliefs and documents which enlighten us to discover the elements that have influenced the gestation of flamenco:

  1.  Studying and observing the archaeological remains and cave paintings show us the existence of musical practices and danzisticas throughout the territory of the Iberian Peninsula.
  2.  Palms marked rhythms of African origin to the extent and development also influenced flamenco in its formation phase.
  3.  The Helena civilization bequeathed tetrachords, Doric or Phrygian mode ME, transmitted by ancient peoples and Arabs, who came to influence the peoples of the Mediterranean arc and in Spain left an indelible mark that was and is present all Hispanic music and especially flamenco.
  4.  The introduction of the Arabian civilization in VIII century when it merged with the Visigothic develop an indigenous music crucible with the contribution of great music Baghdad, Ziryab, which provides structural and interpretive aspects and musical concepts of great importance for the future of music in Europe.
  5. In the Middle Ages, in Spain three religions coexist, and each carries with it the music of praise to their god. Spanish with Sephardic music, Jews also contribute to enrich the musical heritage.
  6.   Gypsies who settled in Andalusia in the early fifteenth century, many with their inclination to take music as a profession, took the music of the place as their own permeated their ways and interpretative forms and style of dance and this genre, Over time, some musical aspects that will be in Flemish art.
  7.  The contribution of Spanish, such as popular music Jácaras, Chaconne, Sarabandes, fandangos, string, jacks, Vito, ballads, tunes, peteneras, candle dances and musical boleros substrate inherent to the various musical parts of the country.
  8.  The contribution of the Latin American folklore music and its cultural, economic and social relationship. During the Spanish colonial period, the music of this era have a strong development both in Iberoamerica and the peninsula and later desididadmente will influence in the creation of flamenco.
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Metamorphic Transformation

Observing metamorphic transformations in nature allows us to extrapolate that method to humans and the arts. That is to say, the foundational substance becomes a supporting substance retained in the new identity. These essential elements are absorbed, now invisible to the observer, while the transformed form creates a stunning awareness of the new.

Likewise, our compositions make use of a similar pattern of creative mutation, if you will. We begin with folk songs that poet Federico Garcia Lorca chose, rescued from oblivion, transcribed for the piano and performed in various venues. Following a trajectory of revealing hidden elements, we submit them to an unexpected metamorphic process. The melodic essences of the old songs are those that give musical meaning to different poems that Lorca wrote.

Additionally, in his short life, he created diverse artistic works, including poetry, music, and literature. He also created formidable works for the theater, while also embracing other mediums such as painting. His contemporaries and artistic collaborators included Joan Miro and Salvador Dali.

“Lorca in the Keys of Hands and Voice,” a concert conceived and presented by Adam Kent and Fernando Barros, is a musical innovation inspired by Lorca’s example. Lorca collected melodies from the Spanish folklore repertoire and transcribed them for the piano using two different concepts: 1) adapting the old melodies to various of his poem, as for example, ANDA JALEO to the poem “Preciosa y el Aire”; and 2) singing the old songs using the expressive, emotive characteristics inherent in flamenco music.

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