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Siguiriyas (Spanish pronunciation: [seɣiˈɾiʝas]; also seguiriyas, siguerillas, siguirillas, seguidilla gitana, [1] etc.) are a form of flamenco music in the cante jondo category. This deep, expressive style is among the most important in flamenco. Unlike other palos of flamenco, siguiriyas stands out for being purely Romani in origin.
Tablature is common for fretted stringed instruments such as the guitar, lute or vihuela, as well as many free reed aerophones such as the harmonica. Tablature was common during the Renaissance and Baroque eras, and is commonly used today in notating many forms of music. Three types of organ tablature were used in Europe: German, Spanish and ...
Cante jondo (Spanish: [ˈkante ˈxondo]) is a vocal style in flamenco, an unspoiled form of Andalusian folk music. The name means "deep song" in Spanish, with hondo ("deep") spelled with J (Spanish pronunciation:) as a form of eye dialect, because traditional Andalusian pronunciation has retained an aspirated H lost in other forms of Spanish.
The poet himself collected these folk songs that were included gypsies and flamenco lyrics and gathered in his collection of ancient popular songs. Among these traditional songs were the tunes, bulerías, jaleos and seguidillas that Lorca himself recorded in 1931 accompanying the famous singer " La Argentinita " with the piano. [ 3 ]
The Spanish classical composer Manuel de Falla (1876–1946) was the principal organizer of the Concurso. [3] He sought to encourage and enhance the music of cante jondo (literally "deep song", referring to a key element of flamenco, as opposed to "cante chico", the "lighter" more accessible element), which he sensed had fallen into a period of decadence. [4]
A more complex example. The small orange squares should be played extremely softly. The above are just two examples among the variety of variations. When there are two or more people playing palmas, one of them usually plays a base pattern, emphasizing the regular beats, while another plays the upbeats (the "contras", short for "contratiempos").
Asturias performed at the White House by Sharon Isbin.. Though originally written to imitate guitar playing, the piece cannot be transcribed note for note for guitar. The original version makes uses of the piano keyboard's wider range compared to the tessitura of the guitar, and the key of G minor is not suitable for the guitar—for example, in the standard guitar tuning, the pedal note D4 is ...
Palos of flamenco. The Andalusian cadence (diatonic phrygian tetrachord) is a term adopted from flamenco music for a chord progression comprising four chords descending stepwise – a iv–III–II–I progression with respect to the Phrygian mode or i–VII–VI–V progression with respect to the Aeolian mode (minor). [1]