Cante Por Bulerías - Primera letra explicada

We're going to do basic verse from Bulerias. Later we take the same verse and extend it a little. With a part from Lebrija and Extremadura. So that we can see how one verse can be sung many different ways. Depending on whether you're singing for dancers or not. We used some different techniques also. If you notice that the singing in first verse is more spoken. The second we used a little more technique. We changed our voice by controlling our breathing and extending some phrases. We can do the first verse slowly. I don't want to mention the count of the compás ...because it's much more simple than the explanation. When we get familiar with the rhythmic base of the Bulerías and how enter and how to exit, It's more than just counting and waiting for the right beat to enter. There is not one specific place to enter. Some Bulerías are marked in beats of 3 and others in 6. Like he has shown earlier. Let's start with the first one. First we'll do use a rhythmic accompaniment in 12 beats - a bit clearer than in the other other verse. ♪ El sitio donde te hablé ♪ ♪ ganas me dan de volverme ♪ ♪ sentarme un ratito en el ♪ ♪ ganas me dan de volverme ♪ ♪ sentarme un ratito en el ♪ This verse is more continuous. It's more direct and clear. If we listen to the next one we enter within the breaks of the rhythm. It's important that we continue breathing when there is a break or a response from the guitar. You must continue breathing. This is something very important. While we wait for the guitarist we must be conscious of what we'll be singing next. And the necessary amount of air intake we need or else we'll be left with not enough breath. If we just ignore it then we'll be left with not enough breath. Rhythmically let's mark more in 3's. So that it's a little different than the other verse and also is more comfortable to accompany her. Always waiting for when she needs to breath so that we can respond with the guitar. ♪ El sitio donde yo a ti te hable ♪ ♪ El sitio donde yo a ti te hable ♪ ♪ gana me da de volverme ♪ ♪ sentarme un ratito en el ♪ ♪ gana me da de volverme ♪ ♪ sentarme un ratito en el ♪ Here we endure the breath a little more. The other verse is more natural for the voice. Sounds more natural and has a different feel. Here we need to raise the pitch. More like the Bulerías romance. So we have the set the pitch higher. The voice sounds more refined and clear. It has a different quality. So it's important that we work on the different timbres of the voice. Not all the singing forms have the same timbre. You don't sing a Seguiriya like you would sing a Granaína. Therefore the technique is very important. I'm very annoying about technique but it's very important. Here with accompaniment you must be aware of the pauses. There are a few places that it's important to add something with the guitar. For example, in the beginning she ends on the Bb but the guitarist must return the tonic. For example, in the beginning she ends on the Bb but the guitarist must go back to the tonic. Then we wait here until she finishes the phrase. Then we immediately close with her. The singer can extend or shorten the phrase with half a compás. We're present and waiting for the singer to finish in order to close together. Because the closing isn't something very big but important because it gives drive to what's coming next. Normally this verse that is sung in the style of Romance has an extended introduction. Then comes the strong point with both the voice and the lyrics. This is the force that comes after this small closing. This push that we give with the guitar is very important. Then we close with the verse in a way that gives a lot more power and drive. This I'm going to say many times. The guitar must be very present. But at the same time don't play a chord that you think should be there. Because for the verse it's more important to wait until a tone is clearly present. We must be aware that there's a lot of dialogue with the singer. It's not only thinking about all the harmony we can provide for the singing. Or what we can do rhythmically. What we're doing is staying conscious of the important parts of the melody. Or the importance of one syllable or word within the verse. This is very important and sets the difference between a guitarist that accompanies well or poorly. Because the best guitarists for singing pay attention to the verse. They bring out the force, sadness, or lament within the verse.