Even though we're "done" with the Alegrias, the bulerias and silly stuff are not done yet - we're right in the thick of studying them, and we're making great progress, so don't worry if you feel less than 100% clear!
So the bulerias de Cadiz section always ends the Alegrias, and the bulerias de Cadiz letras are structured a bit differently than regular bulerias letras.
The big difference is that normal bulerias have 3 lines, often with a repeating "B/C," and often with an estribillo, which you know is like a repeating "B/C." The bulerias de Cadiz which is the first letra I've been singing ("dicen que tienes buen pelo) are like two estribillos, or 8 lines.
So far so good.
Then I stuck in
Dormia un gardinero a piernas sueltas
dormia y se dejaba la puerta abierta
Hasta que un dia
Se le llevaba la rosa que mas queria
Ay Mare Mare, ay Mare Mare
Yo crei que llovia y agua no cae
I think of this as a letra with an estribillo, but you can see it's structured again in lines of 2, like the first bulerias de Cadiz.
The difference is that this verse does not have a traditional bulerias melody (remember the bulerias de Cadiz are in a major tone) and also the lines are stretched out and long: the first two lines take around 7 compases. (Whereas a regular bulerias "B" or "C" line would be one compas long.)
That's where silliness comes in: it's basically a way to rematar and structure the song, so if we imagine it's an American song, the flamenco-ness is in the remates. It's as if you want to say a sentence and I keep interrupting you and asking you to repeat yourself, making it a dialog rather than a recitation. So think of our choreography for that verse: we mark the first "dormia" line and answer back for 2 compases. Then there is a repeat of "a piernas sueltas" and we advance into the second line, which we finish with a backwards cambio. Then on the repeat of that line we do a 2 compas llamada/remate to finish it off. Second half of the verse is sung "B/C/C": we do our silly "shovel" marking (why silly? It's obvious! But also because it's in 6s) and finish the first "C" with a backwards cambio.
More silliness: why do I call it silly? Because we're calling for more singing - we're extending the singing. We do another llamada to the corner to finish off the verse and then we straight away do another llamada on top of the estribillo - I'm not only calling for more singing (now the estribillo "Mare, Mare") but by doing my llamada on the top of the letra I'm signaling that I'm going to be rematando all through the letra, breaking it up (that's silliness.) Also notice that that call in the corner starts with a strong accent on the 12 - that's what I call the "call to silliness" - it often comes on the previous 6, but "da igual."
So the bulerias de Cadiz section always ends the Alegrias, and the bulerias de Cadiz letras are structured a bit differently than regular bulerias letras.
The big difference is that normal bulerias have 3 lines, often with a repeating "B/C," and often with an estribillo, which you know is like a repeating "B/C." The bulerias de Cadiz which is the first letra I've been singing ("dicen que tienes buen pelo) are like two estribillos, or 8 lines.
So far so good.
Then I stuck in
Dormia un gardinero a piernas sueltas
dormia y se dejaba la puerta abierta
Hasta que un dia
Se le llevaba la rosa que mas queria
Ay Mare Mare, ay Mare Mare
Yo crei que llovia y agua no cae
I think of this as a letra with an estribillo, but you can see it's structured again in lines of 2, like the first bulerias de Cadiz.
The difference is that this verse does not have a traditional bulerias melody (remember the bulerias de Cadiz are in a major tone) and also the lines are stretched out and long: the first two lines take around 7 compases. (Whereas a regular bulerias "B" or "C" line would be one compas long.)
That's where silliness comes in: it's basically a way to rematar and structure the song, so if we imagine it's an American song, the flamenco-ness is in the remates. It's as if you want to say a sentence and I keep interrupting you and asking you to repeat yourself, making it a dialog rather than a recitation. So think of our choreography for that verse: we mark the first "dormia" line and answer back for 2 compases. Then there is a repeat of "a piernas sueltas" and we advance into the second line, which we finish with a backwards cambio. Then on the repeat of that line we do a 2 compas llamada/remate to finish it off. Second half of the verse is sung "B/C/C": we do our silly "shovel" marking (why silly? It's obvious! But also because it's in 6s) and finish the first "C" with a backwards cambio.
More silliness: why do I call it silly? Because we're calling for more singing - we're extending the singing. We do another llamada to the corner to finish off the verse and then we straight away do another llamada on top of the estribillo - I'm not only calling for more singing (now the estribillo "Mare, Mare") but by doing my llamada on the top of the letra I'm signaling that I'm going to be rematando all through the letra, breaking it up (that's silliness.) Also notice that that call in the corner starts with a strong accent on the 12 - that's what I call the "call to silliness" - it often comes on the previous 6, but "da igual."
