Publication: Guitarra flamenca : "tono" y "toque" en los estilos libres
Authors
Ortega Albadalejo, José Francisco
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Universidad de Murcia, Servicio de Publicaciones
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info:eu-repo/semantics/article
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Abstract
En las grabaciones antiguas de cantes por malagueñasse observa que los guitarristas recurren, de forma aparentemente indistinta, tanto al acompañamiento “por arriba” –el habitual en estos cantes– como al de granaína o incluso al de taranta. En muchas ocasiones se trata tan sólo de conseguir, mediante las posiciones de la mano izquierda, el mejor “tono” en función de la tesitura del cantaor o la cantaora, manteniéndose a la vez una sonoridad plena en la guitarra, no limitada por el uso de la cejilla. En otras, en cambio, podría hablarse con toda propiedad de la elección de un “toque” de acompañamiento. Partiendo de este hecho reflexionaremos sobre los conceptos de “tono” y “toque” en el flamenco, así como a su concreción en los tres estilos libres citados
In the old recordings of “cantes por malagueñas”it is showed that guitarists use, in an apparently indiscriminate way, both the accompaniment “por arriba” -the usual in these cantes- as that of the “granaína” or even of the “taranta”. In many cases it is only to achieve, through the positions of the left hand, the best “tono” (key) depending on the cantaor's tessitura, while maintaining a full sound on the guitar, not limited by the use of the capo. But in others one could speak with all propriety of the choice of a "toque" of accompaniment. Based on this fact, we will reflect on the concepts of “tono” and “toque” in flamenco music, as well as its concretion in the three “estilos libres” (free styles) cited
In the old recordings of “cantes por malagueñas”it is showed that guitarists use, in an apparently indiscriminate way, both the accompaniment “por arriba” -the usual in these cantes- as that of the “granaína” or even of the “taranta”. In many cases it is only to achieve, through the positions of the left hand, the best “tono” (key) depending on the cantaor's tessitura, while maintaining a full sound on the guitar, not limited by the use of the capo. But in others one could speak with all propriety of the choice of a "toque" of accompaniment. Based on this fact, we will reflect on the concepts of “tono” and “toque” in flamenco music, as well as its concretion in the three “estilos libres” (free styles) cited
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