Sevillana in C Maj (2)
Here’s a second Sabicas sevillanas in C Major. While the key and chords of this arrangement are similar to those used in the first C maj sevillana, the feel here is quite different: instead of eighth notes, the melody uses triplets throughout and in place of moving evenly though the C maj progression, this arrangement hangs on the C then resolves quickly through the F and G.
This uneven movement through the chords makes this particular sevillanas a good exercise in maintaining compás. Since the accented compás beats don’t always coincide with the beginning of a melodic phrase, you need to keep track of the melody and the compás separately and be aware of when and where they cross.
For example, in bar 21, the phrase of the F maj arpeggio starts on beat 2, and then, in bar 22, the same phrase on the G maj chord starts on beat one. The beginning of the F phrase is not on an accented beat, the beginning of the G phrase is on an accented beat.
Making sure that you evenly accent the compás (1 2 3 1 2 3 …) will help you keep your melodic phrasing from being tied to closely to the compás. This sense of separation is an asset when you want to syncopate your melody with the compás of a given toque – whether sevillanas or something else entirely.