{"id":547,"date":"2017-10-13T11:40:23","date_gmt":"2017-10-13T11:40:23","guid":{"rendered":"https:\/\/rafa.talentodigital.com\/de-cal-y-canto\/"},"modified":"2023-01-22T14:27:50","modified_gmt":"2023-01-22T14:27:50","slug":"de-cal-y-canto","status":"publish","type":"post","link":"https:\/\/rafaelcanizares.com\/en\/de-cal-y-canto\/","title":{"rendered":"De cal y canto"},"content":{"rendered":"

Camar\u00f3n with Paco de Luc\u00eda<\/h2>\n

It seems like yesterday the first time I heard them sing this Letra por Tientos.<\/p>\n

Their contributions to the world of flamenco are immeasurable. These two geniuses, Camar\u00f3n de la Isla and Paco de Luc\u00eda, and the flamenco they created \u2013 if it weren\u2019t for them it would only exist in a remote corner of our dreams. Flamenco would exist, of course, but not in its current form and aesthetic, since it was these two, with their personal creativity who made it possible for the new and magic flamenco of today to become a reality.<\/p>\n

The youth of flamenco, our divine treasure, will be the ones to take the torch from the hands of these great musical treasures, the torch passed to them by other great artists. And so, through the many centuries of flamenco this art of ours will continue to gush forth like fresh flowing spring water, from a new source, the unbreakable \u2018cal y canto de arena\u2019 and from those who know the infinite now more than ever.
\nThank you, Paco! Thank you, Camar\u00f3n!<\/p>\n

<\/div>\n
\"Score

Score with chord symbols showing the song\u2019s harmony and falsetas<\/p><\/div>\n

Tientos<\/h2>\n

\u201cQue un toro en su muerte\u201d<\/strong><\/p>\n

De cal y canto de arena
\nDe cal y canto de arena
\nAll\u00e1 abajito se ve una fuente
\nDe cal y canto de arena
\nDonde bebe mi serrana
\nAgua de la fuente nueva
\nDonde bebe mi serrana
\nAgua de la fuente nueva<\/p><\/blockquote>\n

In this study for accompaniment in the flamenco styles or palos, I chose lyrics taken from the song \u201cQue un toro bravo en su muerte\u201d recorded by Camar\u00f3n and Paco in 1969.<\/p>\n

Key: The middle of 4 (C# flamenco mode). Minute 2:22 \u201cDe cal y canto de arena\u201d.<\/p>\n

Harmonically, we see a repeating flamenco cadence in the accompaniment typical of this style, between the bII and the I, (Bb-A). This is found in bars 1-2, 3-4, 14-15 and 18-19 (Fig. 1).<\/p>\n

\"Figure

Figure 1<\/p><\/div>\n

This typical cadence consists of a cycle of two 4\/4 bars, There is very little difference between the repeating rhythm pattern and the pattern used in the execution (Fig. 2).<\/p>\n

\"Figure

Figure 2<\/p><\/div>\n

After this point, as an interlude, in bar 5 (Fig. 3), Paco\u2019s guitar plays a brief passage using the thumb technique and subdivided triplets, with a brief two-bar break (5-6) for vocals after the previous four bars.<\/p>\n

\"Figure

Figure 3<\/p><\/div>\n

Starting in bar 7 (Fig. 4), the harmony plays an A7 = V7\/IV (a passing chord or secondary dominant) going to Dm (IV), returning on bar 11 (C7 = V7 \/ I), at which point there is a brief modulation to the relative major of the flamenco mode, F major (F = I). This displaces the tonal centre of the flamenco mode in measures 11-12-13 (C7, C7\/G and F7).<\/p>\n

\"Figure

Figure 4<\/p><\/div>\n

This ambiguity in tonal modulation requires further examination: The first degree of the major key has the major seven (Fmaj7) (Fig. 5), and in any mode, the minor seven is used for chords that function as dominants, the V of any key or as secondary dominants.<\/p>\n

\"Figure

Figure 5<\/p><\/div>\n

So, seen from this point of view and considering the minor seven in the bVI, F can be considered to be a V7\/bII, in other words, a Bb (Fig. 6), and not the I of the relative major key, although clearly this brief modulation is heard as the relative major and not as the b6 of I (A Phrygian).<\/p>\n

\"Figure

Figure 6<\/p><\/div>\n

Ambiguities aside, in bars 14-15 (Fig. 7), the Bb-A cadence appears again, with a different melodic line that concludes this section, followed by another repetition of the progression that modulates to our \u2018major key\u2019 in bars 17-18, which comes to a full conclusion in bar 19.<\/p>\n

\"Figure

Figure 7<\/p><\/div>\n

The score, with chord symbols showing the song\u2019s harmony and falsetas, is available to anyone interested in learning to play its accompaniment or falsetas. Contact us<\/a> and we will send it to you free of charge.<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"

Camar\u00f3n with Paco de Luc\u00eda It seems like yesterday the first time I heard them sing this Letra por Tientos. Their contributions to the world of flamenco are immeasurable. These two geniuses, Camar\u00f3n de la Isla and Paco de Luc\u00eda, and the flamenco they created \u2013 if it weren\u2019t for them it would only exist […]<\/p>\n","protected":false},"author":3,"featured_media":418,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_joinchat":[],"footnotes":""},"categories":[],"tags":[],"class_list":["post-547","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry"],"publishpress_future_action":{"enabled":false,"date":"2026-09-14 15:47:19","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/rafaelcanizares.com\/en\/wp-json\/wp\/v2\/posts\/547","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rafaelcanizares.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rafaelcanizares.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rafaelcanizares.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/rafaelcanizares.com\/en\/wp-json\/wp\/v2\/comments?post=547"}],"version-history":[{"count":1,"href":"https:\/\/rafaelcanizares.com\/en\/wp-json\/wp\/v2\/posts\/547\/revisions"}],"predecessor-version":[{"id":994,"href":"https:\/\/rafaelcanizares.com\/en\/wp-json\/wp\/v2\/posts\/547\/revisions\/994"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rafaelcanizares.com\/en\/wp-json\/wp\/v2\/media\/418"}],"wp:attachment":[{"href":"https:\/\/rafaelcanizares.com\/en\/wp-json\/wp\/v2\/media?parent=547"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rafaelcanizares.com\/en\/wp-json\/wp\/v2\/categories?post=547"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rafaelcanizares.com\/en\/wp-json\/wp\/v2\/tags?post=547"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}