Suite Flamenca Continua

Overture: Tarantas

I.    Soleá - Alegrías 

II.   Seguirillas – Tientos – Tangos 

III.  Fandangos de Huelva

IV.  Bulerías

Concept

In my study of flamenco, I learned that although each ‘branch’ (palo) represents a unique form—with its own compás or rhythmic pattern, and a number of traditional features which identify each palo—many of the forms are thought of as existing on a continuum. In essence, while the Tientos has its unique characteristics, it is actually a slower form of the Tangos, which, in turn, is a slower form of the Rumba. When guitarist, dancer, singer and percussionist play in ensemble, it is common for a Tangos to climax with a short Rumba. As such, the Rumba is said to be the macho of the Tangos. The llamada is the part of each compás that announces the intent of the music to everyone on and off the stage.

The concept of Suite Flamenca Continua emerged as a means of seeking to comprehend the duende (the mysterious and elusive quality that defines true flamenco, as can be felt intensely in the cante jondo),  using a selection of the countless extant flamenco forms, whilst acknowledging the implicit continua that flamenco palos occupy when considered in the context of a performance. 

The overarching structure bears reference to my fondness for Classical music, with an overture preceding four ‘movements’ which are loosely based around the four movements of a Classical symphony. The first employs a pair of relatively lively palos, the second begins with the dark Seguirillas, and builds in tempo through the Tientos and Tangos. The third, in four-four, is dance-oriented, with solo guitar in place of the traditional cante sections, and the fourth is the fiery Bulerías, with its climactic sequence of piú mosso sections serving as a finale.