The flamenco sticks Flamenco is one of the most passionate and interesting artistic representations within cultural music. A perfect combination between music and dance, where flamenco music is part of the expression of an entire group, having a unique sound in front of other folk and artistic manifestations, and in which the dance is a … Continued
The flamenco sticks
Flamenco is one of the most passionate and interesting artistic representations within cultural music. A perfect combination between music and dance, where flamenco music is part of the expression of an entire group, having a unique sound in front of other folk and artistic manifestations, and in which the dance is a more colorful way to define a multi-slope body language, where coordination, hearing and character develop much more than in other dance demonstrations.
Since flamenco is such a complex expressive form, it was logical to think that in a slightly deeper study of this manifestation, we would find that there are branches or bifurcations known as “sticks,” which usually classify flamenco and propose key differences in As for sound and dance.
To begin with the distinction of each current, it should be noted that there are fixed metric sticks and free metric stick. Very similar to poetry in several aspects of its composition, flamenco distinguishes between sticks that are more flexible to creation and others that remain in their classical form, that is, the most popular sticks.
Within the fixed metric sticks, we can find variations in rhythm such as, for example, homogeneous sticks comprise an elementary and basic structure being represented by tanguillos, tangos and fandangos. As for the irregular rhythm sticks, the subgroup composed of all 12-stroke sticks can be appreciated, that is, the soleá, the seguiriya, the bulería or the joy, to name a few.
As for the free metric sticks we can find the natural fandangos where the cantaor is free to carry his own rhythm, giving rise to improvisation if necessary.
The flamenco malagueña stick also stands out in this group, which, as the name implies, makes it possible to differentiate between the cantes for representative dances and those of the abandolao rhythm.
On the other hand, in Granada we can appreciate how the sticks called granaína and half granaína arise that are nothing more than a type of singing that arises from the mix of flamenco with some fandangos of Granada and finally we have the cante del levante, a group composed of the mining fandango, the Murcian, the Levántica, the miner and the taranta.
The passion for flamenco ranges from participation to an event as part of the public, to being part of a group or developing body language that is dedicated to representing the rhythm and musicality of this outstanding Spanish music.
In any case, the study of its structure is a knowledge quite appreciated by followers and artists who seek to know how this genius is composed that is danced and at the same time heard. An art form of this caliber could not have a simplistic and shallow structure and how we can appreciate there are many styles and variations that we can enjoy.