Looking for the caída.. Part 3
It's the final part of the looking for the caída series!
🎤 What's happening with the cante?
In this letra, María only sings the second sung line once, so there's only one caída - at the end of the second sung line.
The structure for the letra will be:
- First sung line (extended)
- Repeat of first sung line
- Second sung line (this one is also stretched out a bit)
I have enjoyed watching María Vargas singing por Bulerías because of the way she uses her hands to express and punctuate her singing.
This gives us a big clue for when she is about sing the caída!
Always she points back and forth with her fingers as she is building the cante for the caída.
Make sure you watch out for this type of body language from other cantaor/as too!
One of the palmeros standing directly behind María on stage, is Paco Lara. An acclaimed flamenco guitarist from Jerez, who is now living in Australia.
Paco saw my post on FaceBook on this series, and he shared in the comments that on this occasion, María didn't have a cuadro with her. So, all the artists from that festival decided to play palmas and accompany her, Cepero, Rancapino, Paco León, Carlos Merino and Paco Lara himself..
In Paco's words "Artistas como María lo merecen todo" - "Artists like María deserve it all". How beautiful 😍
Until next time, happy dancing 💃🏻
PS If you want more reveals 🕵🏻♀️ for discovering how to improvise for Bulerías Por Fiesta, sign up below to watch my Free Masterclass 🎬
I share my step-by-step framework teaching flamenco dancers how to pull off the perfect pataíta and dance 'in the middle' (aka improvise!) without feeling terrified, not hearing the cues or knowing the parts of the dance!