£5.99 – £8.99
|Year of Composition|
ca. 6' 30"
|Categories (all composers)||Guitar, Other|
‘Taranta’, for solo guitar, refers to the Taranta genre; a variant of the free Fandango, which proceeds in turn from the chant of the mines in Spain. This type of singing is very virtuosic – focused on a meticulous control of the vibrato; very broad in terms of register, dynamic and speed. As a free chant, the Taranta lacks a particular metre. The resulting rhythm comes from the work and coordination between guitarist and singer.
From the outset, I did not want to write a piece for guitar and voice, but tried to absorb the specific characteristics of the chant of the mines and collide them against the series of guitar techniques and influences that accompanied me during the composition of the entire cycle of guitar pieces.
The best solution I found to produce the piece as a concert work, was to incorporate a tactile control surface placed on the top of the guitar, to allow me, in real time, to make all kinds of interventions – mostly vibrato techniques – and to confront them, technically and acoustically, with the guitar. As a control surface I used a Smartphone with a sampler application, which is very simple to involving no more than 5 minutes of learning. At all times I had in mind that the device had to be positionally comfortable and not to interfere in the practice of the exclusive material of the guitar. To do this, the phone is placed on the edge of the fingerboard and supported on the upper left of the top of the guitar (guitarist view) – the same area that was explored in the “Zapateado” piece for the execution of the golpe quintuplets. With this placement the phone can be manipulated comfortably and easily, facilitating reposition of the hand on the strings.