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Moods and styles of flamenco music – the flamenco palos.pdf
1. 9/26/23, 8:23 AM Moods and styles of flamenco music – the flamenco palos
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Flamenco With Rafael
For all guitarists of any ability to improve their guitar playing
skills
Moods and styles of flamenco music
– the flamenco palos
Discover the mournful sounds of the soleá, the energetic
buleriá and the carefree sound of the alegría de Cadiz
Michael
March 23rd
In flamenco guitar, we have lots of different ‘palos’ ('sticks' in English).
These are different styles of music, singing and dancing which form the
flamenco genre. Each palo has its own mood, originating from different
parts of Spain and contexts.
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Flamenco Soleá
For example, one of Rafael's favourite palos is called the Soleá, which
comes from the word soledad – meaning solitude, loneliness. Originally
this comes from a place called Triana, which is now a barrio – a district –
in Seville, Spain.
Many years ago, when the gypsies and flamencos were persecuted in
Spain, they fled to this little enclave, now called Triana.
Rafael describes the mood and sounds of Soleá as mournful,
passionate, one of loneliness. You can see a recent 2023 performance
by Rafael of the Solea here:
Rafael playing Solea, the flamenco style
Soleá is a canté madre. In other words, it's a mother chant. It's one of
the the origins of flamenco, and a lot of different styles derive from it.
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Rafael explains more about the Soleá as part of one of his lessons here
(from 0:20)
Taranta (canté de las minas)
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Some flamenco styles don't have a structure or strict rhythm at all – for
example, the canté de las minas – the chant of the mines – of Southeast
Andalusia. Here we find a cante, or style, called Taranta. This taranta is
very moorish inspired in its mood – even by the first chord you can
recognise it (have a listen below).
Rafael playing taranta
As Rafael explains, of course Spain is not like this now, but traditionally
people would work in the mines of Andalusia and sing their sorrows in
this harmony, from which the palo is taken. Rafael describes the mood
of the taranta as deep and dramatic.
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Alegria de Cádiz
Over to a much more light-hearted style, thealegria de Cádiz comes
from a different part of Andalusia, the ancient port city of Cadiz. It's also
a dance form. Rafael plays a little below so you can get a feel of how
different it is to the solea and taranta:
Rafael plays alegria de cadiz
Fandangos de Huelva
Up the coast from Cadiz we have Huelva, from which we have a palo
called 'fandangos de huelva'. Again, like the alegria, it's used more as a
dance form. There are also fandango libres, which means a free
fandango, where a singer sings without a structured rhythm – and they
are accompanied with just a few chords.
In the video above Rafael also later plays a fandango (if you want to hear
it only as a guitarist). But in the video we have included below, there is a
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fuller performance with dancers and percussion, alongside Rafael's
playing:
Flamenco Bulerías
The bulería – which we think comes from the word 'to fool' ('bular' in
Spanish) – is an instant kind of rhythmic, improvisation – an instant
‘wow!’ for most guitarists who aren't used to hearing it.
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It's quite syncopated and it's great fun – guitarists love it
because it's such a challenge.
Rafael plays some in the style video above (guitar only), but below we
have included an example with a dancer and percussionist, so you can
hear how the sound fits in with other musicians.
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Rumba
Rumba is perhaps the most recognisable form of 'flamenco' guitar
today. It is an an upbeat, light-hearted style with a party feel.
Increasingly it influences other genres such as rock and pop. Arguably it
is easier for this style to influence other genres because it is in 4/4,
which most Western music is already in – unlike other styles of
flamenco which have less common time signatures (e.g. the buleria,
solea) and would feel unfamiliar to most audiences.
Rumba perhaps gives more room for flexibility than some other styles
of flamenco. Increasingly we can see it being used in other, newer
genres such as electronic.
Here is an example of rumba with a full band:
Rafael playing rumba
And as a sole musician (slowed down)...
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Wrap-up
The above is only a snap tour of some different palos in traditional
flamenco guitar, butthere are hundreds of them (Spain is such a vast
geography and culture!) This is before considering how the sounds of
flamenco have been adapted in other parts of the world by musicians
today.
Whatever the flamenco style, you always have to adhere to the
structure of the piece – especially with other singers, dancers and
musicians. That is the challenge and interest with this musical style: for
example, with the 12 beat structure of the buleria, you have to find a way
of being inventive, and creative, while keeping the interest in the
composition going, and harmony with everything else.
Bored with your guitar playing? Unmotivated? Inject some
passionate and emotional flamenco into your guitar life
HOME
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