Al Verte Las Flores Lloran
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Al Verte Las Flores Lloran
''Al Verte las Flores Lloran'' is a 1969 flamenco album by Camarón de la Isla and Paco de Lucía. Officially, the simple descriptive title for five of the first six collaborative albums by these two performers, including this one, was ''El Camarón de la Isla con la colaboración especial de Paco de Lucía'', but each of the five came to be identified by the title of their first track. Track listing # ''Al verte las flores lloran'' ( Bulerías) 2:40 # ''Que un toro bravo en su muerte'' (Tientos ''Tiento'' (, pt, Tento ) is a musical genre originating in Spain in the mid-15th century. It is formally analogous to the fantasia (fantasy), found in England, Germany, and the Low Countries, and also the ricercare, first found in Italy. By t ...) 3:46 # ''Si acaso muero'' ( Seguiriyas) 4:08 # ''En una piedra me acosté'' ( Fandangos) – (José Blas Vega) – 3:26 # ''Anda y no presumas más'' (Bulerías por soleá) 3:29 # ''Camina y dime'' (Tarantos) 4:51 # ''Detrás del tuyo ...
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Paco De Lucia
Paco is a Spanish nickname for Francisco. According to folk etymology, the nickname has its origins in Saint Francis of Assisi, who was the father of the Franciscan order; his name was written in Latin by the order as ''Pater Communitatis'' (father of the community); hence "Paco" was supposedly obtained by taking the first syllable of each word. People with the nickname Paco include *Paco Alcácer (born 1993), Spanish footballer *Paco Arespacochaga (born 1971), Portuguese singer *Paco Cabanes Pastor (1954–2021), Valencian pilota player * Paco Calderón (born 1959), Mexican political cartoonist * Paco Craig (born 1965), American football player *Paco de Lucía (1947–2014), Spanish flamenco guitarist and composer * Paco Decina (born 1955), Italian choreographer *Francisco Estévez (born 1945), Spanish composer *Francisco Gento (born 1933), Spanish footballer *Paco Godia (1921–1990), Spanish racing driver *Paco González (born 1966), Spanish sport journalist *Paco Herrera (born ...
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Flamenco
Flamenco (), in its strictest sense, is an art form based on the various folkloric music traditions of southern Spain, developed within the gitano subculture of the region of Andalusia, and also having historical presence in Extremadura and Murcia. In a wider sense, it is a portmanteau term used to refer to a variety of both contemporary and traditional musical styles typical of southern Spain. Flamenco is closely associated to the gitanos of the Romani ethnicity who have contributed significantly to its origination and professionalization. However, its style is uniquely Andalusian and flamenco artists have historically included Spaniards of both gitano and non-gitano heritage. The oldest record of flamenco music dates to 1774 in the book ''Las Cartas Marruecas'' by José Cadalso. The development of flamenco over the past two centuries is well documented: "the theatre movement of sainetes (one-act plays) and tonadillas, popular song books and song sheets, customs, studies of ...
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Philips Records
Philips Records is a record label founded by the Dutch electronics company Philips. It was founded as Philips Phonographische Industrie in 1950. In 1946, Philips acquired the company which pressed records for British Decca's Dutch outlet in Amsterdam. History The record label originated as "Philips Phonographische Industrie" (PPI) in June 1950 when it began issuing classical music recordings. Recordings were also made of popular artists of multiple nationalities and of classical artists from Germany, France and the Netherlands. Launched under the slogan "Records of the Century" (referring to Philips Industries' UK Head Office at Century House, W1), the first releases in Britain appeared in January 1953 on 10" 78 rpm discs, with LPs appearing in July 1954. Philips also distributed recordings made by the United States Columbia Records (which at the time was a unit of CBS) in the UK and on the European continent. After the separation of the English Columbia label (owned by EMI) ...
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Camarón De La Isla
José Monje Cruz (5 December 1950 – 2 July 1992), better known by his stage name Camarón de la Isla (), was a Spanish Romani flamenco singer. Considered one of the all-time greatest flamenco singers, he was noted for his collaborations with Paco de Lucía and Tomatito, and the three of them were of major importance to the revival of flamenco in the second half of the 20th century. Early life He was born in San Fernando, Cádiz, Spain, into a Spanish Romani family, the seventh of eight children. His mother was Juana Cruz Castro, a "Canastera", literally a basket weaver, and meaning from a wandering Roma family, and whose gift of singing was a strong early influence. His father, Juan Luis Monje, was also a singer as well as a blacksmith, and had a forge where Camarón worked as a boy. His uncle José nicknamed him ''Camarón'' (Spanish for "Shrimp") because he was blonde and fair skinned. When his father died of asthma, while still very young, the family went through ...
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Paco De Lucía
Francisco Sánchez Gómez (21 December 194725 February 2014), known as Paco de Lucía (;), was a Spanish virtuoso flamenco guitarist, composer, and record producer. A leading proponent of the new flamenco style, he was one of the first flamenco guitarists to branch into classical and jazz. Richard Chapman and Eric Clapton, authors of ''Guitar: Music, History, Players'', describe de Lucía as a "titanic figure in the world of flamenco guitar", and Dennis Koster, author of ''Guitar Atlas, Flamenco'', has referred to de Lucía as "one of history's greatest guitarists". De Lucía was noted for his fast and fluent picados (fingerstyle runs). A master of contrast, he often juxtaposed picados and rasgueados (flamenco strumming) with more sensitive playing and was known for adding abstract chords and scale tones to his compositions with jazz influences. These innovations saw him play a key role in the development of traditional flamenco and the evolution of new flamenco and Latin ja ...
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Bulerías
''Bulería'' (; interchangeable with the plural, ''bulerías'') is a fast flamenco rhythm made up of a 12 beat cycle with emphasis in two general forms as follows: This may be thought of as a measure of followed by a measure of (known as hemiola). For dancers, it is commonly viewed with a compas or bar of 6 counts as opposed to 12. An interesting counting method has been used by Pepe Romero, in his book ''Classical Guitar Style and Technique'', which is 2 measures of time followed by 3 measures of time. This puts the emphasis on the last beat of each measure: When performed, the ''bulería'' always starts on beat twelve of the ''compas'', so the accented beat is heard first. It is normally played at 195-240 beats per minute, most commonly in an A- phrygian mode (por medio) with a sharpened third to make A major the root chord. A typical ''rasgueado'' pattern involves only the A and B chords, were golpes are used to accent the chords as follows: '' — — ...
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Tientos (Flamenco)
Tientos is a flamenco Andalusian palo which has a rhythm consisting of 4 beats. It is in the same family as the Tangos, but slower and with different topics, lyrics and mood. Every Tientos becomes a Tangos at the end of the song/dance. Traditionally, cantaor El Marrurro (1848 -1906) has been considered one of the creators of this style. Enrique el Mellizo gave it the modern form by which we know it today. Other famous cantaores who interpreted this style were Antonio Chacón and Pastora Pavón. Like many Cante Jondo ''Cante jondo'' (Andalusian ) 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 () as a form of eye dialect, because traditional Andalusian pro ..., traditional Tientos lyrics (letras) tend to be pathetic, sentimental, and speak about the lack of love, disillusionment and revenge. Dancers strive to capture this mood in their solos. It can be danced by a man or a woma ...
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Seguiriya
''Siguiriyas'' (; also ''seguiriyas'', ''siguerillas'', ''siguirillas'', ''seguidilla gitana'', 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 (Calé) in origin. Siguiriyas are normally played in the key of A Phrygian with each measure (the compás) consisting of 12 counts with emphasis on the 1st, 3rd, 5th, 8th and 11th beats as shown here: : : '' 2 '' 4 '' 6 7 '' 9 10 1'' 12 This rhythm can be contrasted with the rhythmic pattern of the soleares, which also has 12 beats, but the accents fall differently. Taking the unusual accenting into account, it can technically be seen as a measure of 3/4 (counted in eighth notes) starting on "2", then a measure of 6/8 followed by the "1 and" of the 3/4. Every note is evenly spaced apart. For example: : : '' and '' and '' 2 3 '' 5 6 ...
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Fandango
Fandango is a lively partner dance originating from Portugal and Spain, usually in triple meter, traditionally accompanied by guitars, castanets, or hand-clapping. Fandango can both be sung and danced. Sung fandango is usually bipartite: it has an instrumental introduction followed by "variaciones". Sung fandango usually follows the structure of "cante" that consist of four or five octosyllabic verses (coplas) or musical phrases (tercios). Occasionally, the first copla is repeated. The meter of fandango is similar to that of the bolero and seguidilla. It was originally notated in time, of slow tempo, mostly in the minor, with a trio in the major; sometimes, however, the whole was in a major key. Later it took the 3-4 tempo, and the characteristic Spanish rhythm. Origins The earliest fandango melody is found in the anonymous "Libro de diferentes cifras de guitarra" from 1705, and the earliest description of the dance itself is found in a 1712 letter by Martín Martí, a Span ...
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Soleá
''Soleares'' (plural of ''soleá'', ) is one of the most basic forms or '' palos'' of Flamenco music, probably originating among the Calé Romani people of Cádiz or Seville in Andalusia, the most southern region of Spain. It is usually accompanied by one guitar only, in phrygian mode "''por arriba''" (fundamental on the 6th string); "'' Bulerías por soleá''" is usually played "''por medio''" (fundamental on the 5th string). Soleares is sometimes called "mother of palos" although it is not the oldest one (e.g. siguiriyas is older than soleares) and not even related to every other palo (e.g. fandangos family is from a different origin) Lyrics When singers sing soleá, as with most palos, they normally choose different "''coplas''" (stanzas), with different melody, and combine them according to the inspiration of the moment or to a previous plan. Even if the singer has a previous plan, it is often altered on the spur of the moment. These stanzas are independent in subject ...
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Tango (flamenco)
In flamenco a ''tango'' () is one of the flamenco palos closely related in form and feeling to the rumba flamenca. It is often performed as a finale to a flamenco tiento. Its compás and llamada are the same as that of the farruca and share the farruca's lively nature. However, the tango is normally performed in the A Phrygian mode. In some English sources the flamenco tango is written with an -s; "the tangos is..." The flamenco tango is distinct from the flamenco rumba primarily through the guitar playing. In Rumba the guitar flows more freely, whereas in Tangos the accents on beats 2, 3 & 4 are marked clearly with heavy strumming. Tangos is only vaguely related to Argentine tango, and objectively they only share ''compás binario'' or double stroke rhythm. The fact that Argentine tango is one of the first couple dances in America has led historians to believe that both could be based in a minuet-style European dance, therefore sharing a common ancestor, while those who compare ...
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