Flamenco XXI century (III)

03 Jul Flamenco XXI century (III)

Presentation of the book "Flamenco in the classroom"

Presentation of the book «Flamenco in the classroom»

AN EXPLANATION OF THE WAY IN WHICH THE LETTERS AND FLAMENCO SE are rooted hold in their own styles and flamingos and survive BATS IN TIME.

In our previous article reivindicábamos the need for great care in the treatment of letters choosing well its content, social background or personal and open and communicative. That way we liquidated archaic, sexist or untimely letters and in this article I will refer to more formal treatment technical aspect or letters, as should never forget that letters, poems, poetry, enclosed in themselves a musicality own rules of speech that flamenco can not ignore, as well taught, there Zyryab in the ninth century, the great Baghdad musician who revolutionized the musical concepts of his time to creating Canto Schools where not only played and sang it previously, students should learn to recite. And we put the oversights in this regard to the unique strengths that also exist when looking at how simple and beautiful as some 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. If there is a microscope that we decipher all items containing the musical art of flamenco we would find the keys to this evidence when we see the repetition of the same letters in Flemish songs, each in his bat and very rarely going out of its exceptions matrix. However, I think we can get closer, if only a little, to that shore also visited by flamingos. Let’s start the journey. The first is to expose the simplest and most obvious positions: flamenco is a music therefore has the same ingredients as all music: rhythm, harmony and melody. Eye to misunderstandings, all music has rhythm, each his own, because everything that happens, that is, what starts, going trascurriendo gradually over time until it ends. Then in flamenco music all have rhythm sticks, self, so that although sometimes it is noted that certain rhythm sticks have such opinion continues to be inconsistent; It is simply that your pace is slower or slow, for example in the case of Malaga, the tarantas, tonás, etc. The next item is musical harmony, which Flemish can be modal (As usually the music of popular root) tonal, and the mixture of the two. Time we will have to stop in a concise explanation of these terms later.

 

FLAMENCO THE CENTURY (III)

Fernando Barros Lirola Singer and Flemish researcher.

Asher Barrett
jasherbarrett@gmail.com


2019 PERFORMANCES

                 

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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Email: barroslirola@gmail.com