1 2 3 4 5 6 7 8 9 10 110 “ancestral pattern” 1 2 3 4 5 6 7 8 9 10

The “ancestral” rhythm is alive and well!
11
0
1
2
10
9
3
4
8
7
5
6
“ancestral pattern”
11
0
1
2
10
9
3
4
8
7
5
6
Fandango de Huelva
ancestral rhythm
cut this out and use to slide next to
each rhythm on previous
transparency to calculate the
distances
Reconstructing an “ancestral” rhythm from the
Flamenco meters with the directed-swap distance
Seguiriya
Fandango
1 1
5
Guajira
6
7
Soleá
Bulería
Fandango
Soleá
Bulería
Seguiriya
Guajira
The SplitsTree obtained from the directed-swap
distance matrix
Fit=100.0%
Soleá
Fandango
Bulería
Guajira
Seguiriya
●
Bulería and Soleá form a very distinct cluster.
(only Bulería and Soleá have anacrusis)
Fandango and Guajira form a center cluster.
(only Fandango and Guajira have zero off-beatness)
●
●
Seguiriya is a singleton cluster.
The Directed-swap distance matrix
Soleá
Soleá
0
Bulería
Bulería Seguiriya Guajira Fandango
1
11
7
7
0
12
8
8
0
4
4
0
2
21
21
Seguiriya
Guajira
Fandango
Σ
25
29
31
●
Bulería and Seguiriya are the most distinct.
●
Guajira and Fandango form the center.
The SplitsTree obtained from the chronotonic
distance matrix
Bulería
Fit=100.0%
Soleá
Guajira
Seguiriya
Fandango
Bulería is the most distinct.
(only Bulería has the rhythmic-oddity property)
●
Bulería and Soleá form one cluster.
(only Bulería and Soleá have anacrusis)
●
Seguiriya and Fandango form a second cluster.
● Guajira is the near-center.
●
The Chronotonic distance matrix
Soleá
Soleá
0
Bulería
Bulería Seguiriya Guajira Fandango
6
8
4
10
0
12
8
14
0
8
6
0
6
26
36
Seguiriya
Guajira
Fandango
Σ
28
40
34
●
Bulería is the most distinct from the others
●
Guajira is the most similar to the others.
Off-Beatness and Rhythmic-Oddity applied to the
Flamenco Meters
11
0
3
1
2
10
9
11
6
2
9
4
7
3
4
8
7
5
Soleá
11
0
1
1
2
9
5
4
8
5
Seguiriya
11
0
0
1
2
10
3
6
6
Bulería
10
7
2
1
10
3
8
0
9
3
4
8
7
6
Guajira
5
The chronotonic distance
Fandango
0
1
2
3
4
5
6
7
8
9 10 11 12
Bulería
0
1
2
3
4
5
6
7
8
9 10 11 12
0
1
2
3
4
5
6
7
8
9 10 11 12
The chronotonic distance between
Fandango and Bulería is the area
between the two curves shown
shaded in dark blue.
The five 12/8-time flamenco meters in chronotonic
notation
Fandango
0
1
2
3
4
5
6
7
8
9 10 11 12
0
1
2
3
4
5
6
7
8
9 10 11 12
0
1
2
3
4
5
6
7
8
9 10 11 12
0
1
2
3
4
5
6
7
8
9 10 11 12
0
1
2
3
4
5
6
7
8
9 10 11 12
Soleá
Bulería
Seguiriya
Guajira
The directed swap-distance between Seguiriya and
Fandango
The directed swap-distance between two rhythms
represented as binary sequences of symbols is defined
as the minimum number of position interchanges
between adjacent one’s and zero’s, required to
transform the “larger” rhythm into the “smaller”
rhythm with two constraints:
(1) every onset of the “larger” rhythm must travel to
some onset of the “smaller” rhythm
(2) every onset of the “smaller” rhythm must receive
at least one onset from the “larger” rhythm
Example: for unequal # of onsets:
0
1
1
1
Seguiriya
Fandango
swap-distance (S,G) = 4
1
The swap-distance between Seguiriya and Guajira
The swap-distance between two rhythms represented
as binary sequences of symbols is defined as the
minimum number of position interchanges between
adjacent one’s and zero’s, required to transform one
rhythm into the other.
Example: for equal # of onsets:
Seguiriya
Guajira
0
1
2
1
swap-distance (S,G) = 4
0
El Compás Flamenco Metronome
The aperiodic Flamenco meters as polygons
11
0
1
11
2
10
9
6
2
9
4
7
3
4
8
7
5
Soleá
11
0
1
11
2
9
5
4
8
5
Seguiriya
0
1
2
10
3
6
6
Bulería
10
7
1
10
3
8
0
9
3
4
8
7
6
Guajira
5
Fandango Meter as a convex polygon
0
11
1
10
2
9
3
8
4
5
7
6
onsets = 4
span = 12
interval vector = (3, 3, 3, 3)
The five 12/8 time Flamenco meters.
Fandango
Soleá
Bulería
Seguiriya
Guajira
The Guajira
Guajira
●
From “guajiro” (meaning Cuban campesino), from
Cuban folklore, it is happy and rhythmic.
According to Nan Mercader it is “strongly
influenced by Cuban music”
●
It’s rhythm is the “punto Cubano” of Cuba
●
Also used in the Petenera, with a sad mood, some
believe the Petenera was originally a song of the
Sephardic Jews.
The Seguiriya
Seguiriya
●
Austere and severe, according to Nan Mercader
(2000) it “contains the tragic mystery of the gypsy
soul”
This group includes:
●
Martinete and Debla - originally without any
rhythm
The Bulería
Bulería
●
According to Nan Mercader (2000) “has gypsy
and Andalucian origin”
●
Synonym of “fiesta” - from “bullería” (noisy), it
is happy, festive and fast
●
A descendant of Soleá from which it inherits its
rhythm
●
According to Charles H. Keyser Jr. (1993)
“originated as an accelerated ending to Soleá”
The Soleá
Soleá
●
In the words of José Manuel Gamboa:
“encapsulates the essence of the art of flamenco”
●
According to Nan Mercader: “one of the most
paradigmatic and genuine styles of flamenco”
●
According to Susana Navalón: “the majestic basic
pillar of flamenco”
●
The Soleá meter has been adopted in many other
styles of flamenco including:
●
Bulerias
Caña/Polo - ancestors of Soleá
Cantiñas - mainly in Cadiz and other ports, they
are more lively than Soleá
●
●
The Fandango
Fandango
●
In the words of José Manuel Gamboa (2002):
“En el fandango está la fuente.”
The fandango group includes:
●
Verdiales/Abandolaos - two of the oldest styles
●
Rondeña - derived from the Fandango Malagueño
●
Granaína - Fandango from Granada
●
This meter is also played with a bass drum in
Sevillanas - a festive dance popular all over
Andalucia
B
Copyright - Sal Bonavita 1999
A
Copyright - Sal Bonavita 1999
from “El Melón de Oro” in Murcia
from “El Melón de Oro” in Murcia
from the restaurant “Al Aljarate” in Madrid
The Music of Andalucia
Fandangos
de Huelva
Sevillanas
Soleares
Bulerias
Seguiriyas
Cuba
Guajiras
El Compás Flamenco: A
Phylogenetic Analysis
José Miguel Díaz-Bañez, Sevilla
Giovanna Farigu, Madrid
Francisco Gómez, Madrid
David Rappaport, Kingston
Godfried Toussaint, Montreal
photo by Paco Sánchez