Palo (Flamenco)
Palo is the name for a musical form, which is one of the traditional heritage of flamenco.
- 4.1 Current Palos
- 4.2 Historical Palos
Origin of name
The Spanish word palo has different meanings. Usually it is in the sense of " floor ", " rod ", " pile " or " post " is used, but in case of flamenco is probably the meaning as a term for a set of playing cards (ie as in English "Cover " or " sheet " ) basis. It refers to a category.
Properties of the Palos
Each Palo is characterized by certain properties. These are mainly:
- The metric of the text
- The topic of the text
- Time signature and basic rhythm
- The key
- Characteristic musical motifs
- The origin
Each Palo comprises a group of traditional tunes or songs that are called estilos. This word refers exclusively to individual pieces that have arisen in the past, attributed to either certain singers or anonymous, and may have evolved over generations. It is not meant in the sense of "style". All new, non-traditional songs or compositions that follow the general shape of Palo are usually also associated with Palo.
The idea of Palo can not be understood as a strict music theory division. It is rather a popular, sometimes inconsistent classification of songs based on similar characteristics. For example, only the rhythm is to determine the songs that belong to the Palo Bulerías, used, not its key or the strophic structure.
Fandango again have some forms in 3/4 or 6/8-measure, later, but "free" developed forms, ie those with no particular rhythm. Most Palos include dozens of traditional songs, while others, such as the Serrana include only a single song. Another interesting example is that of the Polo and the Caña: they are almost identical and should actually be variants of the same song are filed, but are traditionally considered different Palos.
Classification of Palos
When dividing the Palos different characteristics are considered. Their choice is not always consistent. Because of their traditionally ascribed the origin Palos are often presented in the form of a phylogenetic tree, which however is often not compiled with a scientific claim (see links).
A palo seco Cantes ( songs without accompaniment)
The songs unaccompanied be accepted by some theorists as Demofilo or Molina and Mairena as the origin of the remaining flamenco songs. They are among the oldest documented forms of flamenco music.
- Tonás
- Martinetes, this can also be counted:
- Debla
- Carcelera
- Saetas
- Trilla
The Debla and Carceleras are only counted on the Palos, but are actually variants of the Martinetes. They are traditionally considered as songs gypsy origin. The trilla is another form of a palo seco cante, which was originally sung by the farmers during their work (the word trilla called threshing ). Another important Palo this type is the Saeta, which is the Holy Week processions reserved.
Some modern flamenco artists have this Palos performed with instrumental accompaniment, which is rejected by orthodox audience. However it has been repeatedly pointed out that some other Palos, which are now accepted as presented with accompaniment, formerly a cappella sung. If Martinetes be sung as the basis of the dance, you usually accompanies them with percussion in the way of Siguiriya, usually with a hammer and anvil to represent their presumed origin as cantes de fragua (wrought songs ).
Palos, which are related to the Soleá
This group includes all the songs that will be played with the rhythm of Soleá, that is, according to the following basic rhythmic pattern:
This group includes the following Palos:
- Soleá
- ( Also referred to as soleá por Bulerías ) Bulerías por soleá
- The group of Cantiñas, including:
- Alegrías
- Romeras
- Caracoles
- Mirabrás
- Bulerías
- Caña and Polo
Most of them are attributed zigeunerischem origin.
The Bulerías is a special case of this group, as they will not be executed after the typical 12/8-Schema the soleá, but may also include 6/8- or 3/8-Gruppen. The Palos Caña and Polo consist merely of any one song, they are all very similar. They are represented in this group only because of its accompaniment, the melody is not the soleás similar.
The classification of bulerías por soleá is problematic. It can be viewed as a kind, the Soleá to play in a regular meter ( instead of the usual rubato, which often occurs in Soleá ). For this reason it is also called soleá al golpe ( " Soleá on the beat "). In other cases, the term is used to refer to a subset of traditional songs that are sung to the rhythm of Soleá.
The so-called fandangos por soleá is a regular Fandango, in which the traditional guitar accompaniment was replaced by a soleá Accompaniment ( with the necessary changes in the rhythm of the song ). It is usually considered one of the fandango.
Chants that are related to the Seguiriya
The Palos this group are:
- Seguiriya
- Cabales
- Serrana
- Livianas
- Toná liviana
Although the Martinetes and other Tonás are sometimes played with the percussion of the Seguiriya, they do not belong in this group. The only Palo this group, which a large number of variants ( ie estilos ) has is the Seguiriya itself Palo Livianas includes only two songs and the Serrana and the toná liviana only one. All these Palos follow a 12/8-Schema with different distribution of accents. One could also argue that it was about the same pace as the soleá, but started on the eighth beat:
Chants that are related to the Fandango
The fandango in its many regional variations were extremely popular folk dances in large parts of Spain and Latin America during the 18th century. Many composers like Antonio Soler and Luigi Boccherini Fandango took into their compositions. Although they are now often sung as cantes libres, it originally served as music to the same dance. If they are played with a uniform meter, they follow a 3/4- or 6/8-measure. End of the 19th century, it grew out of folklore and became a flamenco palo.
The fandango be classified as follows:
- Fandango de Huelva ( " Fandango de Huelva " ): The traditional estilos are rhythmic, since the beginning of the 20th century but they were designed as cantes libres.
- Fandango orientales ( "East Fandango " ) come from the eastern part of Andalusia and Murcia. This sub-group includes:
- Fandango abandolaos: played in a steady 3/4-time, including:
- Verdial
- JaberaS
- Rondeñas
- Fandango de Lucena
- Old Malagueñas
- And other
- Cantes libres ( "free songs " ): This category includes you:
- Modern Malagueñas
- Tarantas
- Cartageneras
- Cante de Madruga
- Minera
- Murciana
- Levantica
- Granaína
- Media Granaína
- Fandango personales ( "individual Fandango " ): All fandango that do not belong to the traditional repertoire, but which were invented by a singer recently. They represented the prevailing flamenco style 1930-1960 and were later rejected by purists.
Chants that are related to the tango
The group of tangos includes most flamenco forms in 4/4-time. It contains:
- Tangos
- Tientos
- Farruca
- Garrotín
- Rumba
- Tanguillos
- Marianas
- Taranto
- Other rare forms
The Tientos are slow, more syncopated form of the tango, which are reminiscent of the rhythm of the Habanera. Many traditional melodies can be sung both in tango and in Tiento rhythm. Often singers start with a sequence of Tientos and terminate it with one or more stanzas in tango rhythm. Farruca and Garrotín were folk songs, which were probably located in Asturias and Catalonia, and who were brought to Andalusia, to obtain flamenco characteristics there.
The Taranto is in contrast to Tarantas no cantes libres, but a Tarantas with tango - compas. Sound characteristics, articulation and harmony are identical to the Tarantas.
Cante de ida y vuelta
The Spanish expression ida y vuelta means a return trip. Of the Palos, which are classified in this group, it is believed that they were brought from Spain to the New World, especially to Cuba, where she received influences of the indigenous and black population, to eventually re-imported by returned emigrants to Andalusia " to be. " These include Palos:
- Colombianas
- Guajiras
- Milongas
- Rumbas
- Vidalitas
Other Palos
Flamenco singer often interpret other types of folk songs by giving them flamenco characteristics. Most such interpretations are not expected to the actual flamenco, although they are sometimes transferred to the repertoire of flamenco singers for a long time. These include:
- Bambera
- Nana ( lullabies )
- Sevillanas ( to be expected as a rule to flamenco )
- Villancico flamenco ( carols ), specifically:
- Campanilleros
- Zambras
- Zorongo
List of current and historical Palos
The following tables list alphabetical some of the current and historical Palos.