Los ritmos del flamenco


For Jacques Dalcroze, dance is:

The art of expressing emotions with the help of rhythmic body movements

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If the rate belongs to the very essence of music, as a decisive and constituent element of it, how can we understand flamenco music and run their various disciplines, if you previously have not internalized the different rhythms that constitutes?

What I want to convey with this article is a necessary convenience stop at the start of learning flamenco, in the internalization of the five types of rhythm are all flamenco music. Do not forget the group of songs that have missed a beat; Free songs are the metrics that are identified by the own melodies and harmony that distinguish them from other types of singing.

I consider it a waste of time to want to know the art of flamenco, either to learn some of their disciplines or discover its essence without having previously understood its rhythmic characteristics.

It is therefore necessary to stop at the beginning of their learning, knowledge of each of the flamenco rhythms and peculiarities it contains and makes them different.

Learning a particular rate it is based on a process of mental compression has well-defined phases, Professor Jaques Dalcroze you Orizo and are of great help in learning music.

Following the model would have three phases in the understanding of rhythm:

  1. Mental understanding of rhythmic essence known. It is containing times and accents. It is understanding the type of rhythm by the higher nerve centers are those with the ability to measure ritmar sounds and sequences of equal length.

Musicality, as the essence of rhythm must be understood in its fullness so that they can be interpreted and executed by the nervous and musculoskeletal systems.

  1. When the neurological system dominates the features containing the rhythms can give efficient nervous with the precision required music system orders.
  1. The well understood rhythmic orders will be executed by the specific areas of the body, with the efficiency of the motor system that will set in motion the body area that requires the discipline that you want to run either dancing, playing the palms, sticks, instruments They can be constructed music, playing the guitar being the instrument that identifies us the songs for his unmistakably flamenco sound. And finally in the interpretation of the songs with the voice that must also know the rhythmic keys to adjust the lyrics with their melodies to restrain the pace singing style. The singing also requires rhythmic rigor in order to sync with guitar and / or dancing. You have to sing to the beat that makes a guitar.

A good understanding of rhythm produces its internalization and therefore will stand in an inner harmonic musical state.

For me the internalization of rhythm is the axis on which I Article my classes, Masterclass, conferences and educational concerts; thus I get the keys to understanding flamenco music quickly and solidity.

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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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