|
''Polo'' ((:ˈpolo)) is the name of a flamenco palo or musical form. There is only one known song in this ''palo'', which is extremely similar to another palo called caña, and its guitar accompaniment, like the ''caña'', shares its rhythm and motifs with soleá. Both the ''caña'' and ''polo'' share the same musical mode. The ''polo'' has usually been considered as a derivation of the ''caña''. To complete the singing of the polo, singers usually sing a stanza in the ''palo'' of soleá, generally in the style called ''soleá apolá''. Although nowadays, only one song is known for the ''polo'', known as ''polo natural'', past writers also mention another ''polo'', called ''polo de Tobalo'', which has probably been lost. ==Poetic and musical structure== The stanza of the ''polo'' is the ''cuarteta romanceada'', typical of most flamenco songs and Spanish folklore: four octosyllabic verses, the second and fourth rhyming in assonance. It is usually sung with the following typical lines: ''Carmona tiene una fuente'' ''con catorce o quince caños'' ''con un letrero que dice:'' ''¡Viva el polo sevillano!'' Translation: Carmona has a fountain With four or five jets And an inscription that reads Long live the Sevillan polo! Often, the last line is replaced by another saying: "Viva el polo de Tobalo" ("Long live the polo de Tobalo"). This is curious, as the melody used is not the one of the ''polo de Tobalo'', but that of the ''polo natural''. Some lines are partially repeated, and there are also two series of melismas sung on one vowel in the middle and at the end of the stanza, which separate the song in two sections. The stanza is therefore rendered like this: ''Carmona tiene una fuente'' ''con catorce'' ''con catorce o quince caños'' ''oooh oooh oooh etc. (melismas)'' ''con un letrero que dice y que'' ''y viva el polo'' ''viva el polo de Tobalo'' ''oooh ooh ooh etc.'' As to the metre and musical mode, they are the same as for the soleá, that is 12-beat metre (or alternating 3/4 and 6/8) and Phrygian mode (for more information, see article on soleá). The guitar accompaniment and falsetas are also inspired by the soleá, although some special arpeggios are included after the second line of each section ("con catorce" and "y viva el polo") and during the singing of the melismas. It is always accompanied in the guitar chord position of E for the tonic. Musicologist Hipólito Rossy stated that the song was in (mode ) and 3-beat metre (Rossy () 1998), but it is obvious that he was not very familiar with this ''palo'', as all recordings show the typical soleá rhythm and Phrygian mode. He might have been influenced by the recording of singer Jacinto Almadén, in which guitarist Perico el del Lunar certainly uses some chords insinuating the major mode. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Polo (flamenco palo)」の詳細全文を読む スポンサード リンク
|