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Soleá (dance)
''Soleares'' (plural of ''soleá'', ) is one of the most basic forms or ''Palo (flamenco), palos'' of Flamenco music, probably originating among the gitanos, 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, 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 Palo (flamenco), palos, they normally choose different "''coplas''" (stanzas), with different melody, and combine them according to the Artistic inspiration, inspiration of the moment or to a previous plan. Even if the singer has a previous plan, it is often al ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Solea Por Bulerias
{{disambig, genus ...
Solea may refer to: * Solea, a simple sandal with a thong between the toes and a hobnailed sole from Roman times * Soleá, a form of Flamenco music * ''Solea'' (novel) by Jean-Claude Izzo * Soléa, a public transit system in the French city of Mulhouse * ''Solea'' (plant), a plant genus now considered a synonym of ''Viola'' * ''Solea'' (fish), a genus of fishes * Soleá (singer) (born 2011), Spanish singer who represented Spain in the Junior Eurovision Song Contest 2020 See also *Soleas The soleas (( el, σολέα, other form σολέας) = lat, solea meaning (“bottom, base”, as used in "sole of a shoe", cf. also the "sole" from the resemblance of fish to a flat shoe. Of uncertain origin)) is an extension of the sanctuary ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Assonance
Assonance is a resemblance in the sounds of words/syllables either between their vowels (e.g., ''meat, bean'') or between their consonants (e.g., ''keep, cape''). However, assonance between consonants is generally called ''consonance'' in American usage. The two types are often combined, as between the words ''six'' and ''switch'', in which the vowels are identical, and the consonants are similar but not completely identical. If there is repetition of the same vowel or some similar vowels in literary work, especially in stressed syllables, this may be termed "vowel harmony" in poetry (though linguists have a different definition of "vowel harmony"). A special case of assonance is rhyme, in which the endings of words (generally beginning with the vowel sound of the last stressed syllable) are identical—as in ''fog'' and ''log'' or ''history'' and ''mystery''. Vocalic assonance is an important element in verse. Assonance occurs more often in verse than in prose; it is used in Eng ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Beat (music)
In music and music theory, the beat is the basic unit of time, the pulse (regularly repeating event), of the ''mensural level'' (or ''beat level''). The beat is often defined as the rhythm listeners would tap their toes to when listening to a piece of music, or the numbers a musician counts while performing, though in practice this may be technically incorrect (often the first multiple level). In popular use, ''beat'' can refer to a variety of related concepts, including pulse, tempo, meter, specific rhythms, and groove. Rhythm in music is characterized by a repeating sequence of stressed and unstressed beats (often called "strong" and "weak") and divided into bars organized by time signature and tempo indications. Beats are related to and distinguished from pulse, rhythm (grouping), and meter: Metric levels faster than the beat level are division levels, and slower levels are multiple levels. Beat has always been an important part of music. Some music genres such as fu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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: '' — — ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alegrías
''Alegrías'' () is a flamenco palo or musical form, which has a rhythm consisting of 12 beats. It is similar to Soleares. Its beat emphasis is as follows: 1 2 '' 4 5 '' 7 '' 9 0'' 11 2''. Alegrías originated in Cádiz. Alegrías belongs to the group of ''palos'' called Cantiñas and it is usually played in a lively rhythm (120-170 beats per minute). The livelier speeds are chosen for dancing, while quieter rhythms are preferred for the song alone. One of the structurally strictest forms of flamenco, a traditional dance in alegrías must contain each of the following sections: a salida (entrance), paseo (walkaround), silencio (similar to an adagio in ballet), castellana (upbeat section) zapateado (literally "a tap of the foot") and bulerías. This structure though, is not followed when alegrías are sung as a standalone song (with no dancing). In that case, the stanzas are combined freely, sometimes together with other types of cantiñas. Recommended listenings for this '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantiñas
The ''cantiñas'' () is a group of flamenco ''palos'' (musical forms), originated in the area of Cádiz in Andalusia (although some styles of cantiña have developed in the province of Seville). They share the same '' compás'' or rhythmic pattern with the ''soleá'' and are usually sung in a lively rhythm (between 120 and 160 beats per minute). They are normally sung in a major mode and have a festive mood. The usual chord positions for the tonic chord in the guitar are those of E major, C major and, occasionally, A major, the latter usually reserved for solo guitar pieces. The chord progression is normally of the simple tonic-dominant type, although modern guitar players introduce other transitional chords. The ''palos'' classified under this group are: * ''Alegrías'' * '' Romeras'' * ''Caracoles'' * '' Mirabrás'' * Other ''cantiñas'', including the ''"cantiñas de Pinini"'' (or ''"cantiñas de Utrera''), ''"cantiña del contrabandista"'', ''"cantes de las Mirris"'' or "''ale ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Scale
The major scale (or Ionian mode) is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note (from Latin "octavus", the eighth). The simplest major scale to write is C major, the only major scale not requiring sharps or flats: The major scale had a central importance in Western music, particularly in the common practice period and in popular music. In Carnatic music, it is known as '' Sankarabharanam''. In Hindustani classical music, it is known as '' Bilaval''. Structure A major scale is a diatonic scale. The sequence of intervals between the notes of a major scale is: : whole, whole, half, whole, whole, whole, half where "whole" stands for a whole tone (a red u-shaped curve in the figure), and "half" stands for a semitone (a red angled line in the figu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempo
In musical terminology, tempo (Italian, 'time'; plural ''tempos'', or ''tempi'' from the Italian plural) is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually measured in beats per minute (or bpm). In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in BPM. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often ind ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Microtonal Music
Microtonal music or microtonality is the use in music of microtones—intervals smaller than a semitone, also called "microintervals". It may also be extended to include any music using intervals not found in the customary Western tuning of twelve equal intervals per octave. In other words, a microtone may be thought of as a note that falls between the keys of a piano tuned in equal temperament. In ''Revising the musical equal temperament,'' Haye Hinrichsen defines equal temperament as “the frequency ratios of all intervals are invariant under transposition (translational shifts along the keyboard), i.e., to be constant. The standard twelve-tone ''equal temperament'' (ET), which was originally invented in ancient China and rediscovered in Europe in the 16th century, is determined by two additional conditions. Firstly the octave is divided into twelve semitones. Secondly the octave, the most fundamental of all intervals, is postulated to be pure (beatless), as described by the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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