Flamenco lyrics and melody containing

02 Ene Flamenco lyrics and melody containing

Imagen1-Lorca-236x300The lyrics are sung in flamenco music itself enclosed in a musicality itself is one of the features that has made possible the great variety of styles contained in this music. The Castilian language with its own way of pronouncing words and the peculiar way of putting spoken expressions Andalusians have been one of the essential aspects for the development of flamenco.

This great relationship between the singing voice and the speaking voice already had in mind Zyryab, the great Baghdad musician who revolutionized the musical concepts of the ninth century where not only played and sang it previously, students should learn to recite the verses of the poems that were to sing. So in my opinion we have to put ourselves in the spoken voice, in recognition of the communication code of our language and then move to the singing voice never run or the music itself or the musicality that the letters themselves carry on inside.

Flamenco create them letters

Of the various and multiple styles that have flamenco music, much of which are created by the melody of the lyrics and also variants of the melodic voices created certain songs.

The letters are adapted to the respective clubs until he became thick as thieves and form almost one. So much so, that those letters characterize the style, the stick,  and have survived over time with a vitality and admirable today

The letters or poetry, lyric, which underlies the lyrics, everything we express have some laws, the harmonic laws that speech prevails and when the music hybrid that magic in it accurately communication phenomenon occurs and what pleasure makes this art convey feelings and deep emotions.

Flamenco is made up of more than five hundred songs

The different styles of Malaga, of songs lifting of soleares of cantiñas …, etc. variations are caused in most cases by the melody of the letter that the singer / hour have been used in his songs.

Lyrics sung by artists, then the public was his, and that the time between the Flemish settled.Most likely, the letters did not take root, they disappeared.

Flemish artists also with the wisdom and intuition to approve as accurate in conveying the aesthetic emotions his art involved and a close example is in this respect Enrique Morente, a teacher able to put music verses impossible to precisely ascertain marry them -with a technical envidiable- in the right rhythm stick, respecting its formal character.

With these synthetic arguments, I want to say that in most flamenco are their lyrics, with their inner melodies, which have led to the emergence of many flamenco styles. So many songs are recognized for what they say his lyrics. Examples could be the “Mirabras” malagueñas of its creators, (Chacon, with its non-substyles, La Trini, The Twin, et.) And many more.

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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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