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Music from Almería, Cádiz, Córdoba, Granada, Huelva, Jaén, Málaga, Sevilla of Spain and Al-Andalus.
Andalusia (Spanish: Andalucía) is an autonomous community of Spain. It is the most populous and the second largest, in terms of land area, of the seventeen autonomous communities of the Kingdom of Spain. Its capital and largest city is Seville. The region is divided into eight provinces: Huelva, Seville, Cádiz, Córdoba, Málaga, Jaén, Granada and Almería.
Andalusia is located south of the autonomous communities of Extremadura and Castile-La Mancha; west of the autonomous community of Murcia and the Mediterranean Sea; east of Portugal and the Atlantic Ocean; and north of the Mediterranean Sea, the Strait of Gibraltar, which separates Spain from Morocco, and the Atlantic Ocean. The small British overseas territory of Gibraltar shares a three-quarter-mile land border with the Andalusian province of Cádiz at the eastern end of the Strait of Gibraltar.
Carthaginians and Romans
With the fall of the Phoenician cities, Carthage became the dominant sea power of the western Mediterranean and the most important trading partner for the Semitic towns along the Andalusian coast. Between the first and second Carthaginian wars, Carthage extended its control beyond Andalusia to include all of Iberia except the Basquelands. Andalusia was the major staging ground for the war with Rome led by the Barkid Hannibal. The Romans defeated the Carthaginians and conquered Andalusia, the region being renamed Baetica.
Vandals and Visigoths
The Vandals moved briefly through the region during the 5th century AD before settling in North Africa, after which the region fell into the hands of the Kingdom of the Visigoths who had to face the Byzantine interests in the region.
Al-Andalus: Muslim period
The Umayyad Caliphate conquest of the Iberian Peninsula in 711–718 marked the collapse of Visigothic rule. The Berber Tariq ibn Ziyad, known in Spanish history and legend as Tariq el Tuerto (Tariq the one-eyed), was an Umayyad general who led the conquest of Visigothic Hispania in 711. Andalusian culture was deeply influenced by over half a millennium of Muslim rule during the Middle Ages. The history of Al-Andalus, was one of a succession of different islamic states. Under the caliphate, the name "Al-Andalus" was applied to a much larger area than the present Spanish region, and at some periods it referred to nearly the entire Iberian peninsula. It is nevertheless true that the Guadalquivir valley Andalusia was the hub of Muslim power in the peninsula, with Cordoba as its capital. However, internal divisions after Almanzor sparked the decomposition of the Caliphate (1031) in many areas. The taifa of Seville was especially influential.
Andalusia under the rule of Castile
After the conquest of Toledo in 1085 by Alfonso VI, Christian rule dominated the peninsula, the main Taifas therefore had to resort assistance from various Muslim powers set out across the Mediterranean. After the victory in Zalaca, Almoravid (1086) constructed a unified Al-Andalus and set up his capital in Granada, ruling until mid-twelfth century. The various Taifa kingdoms were assimilated. Almohads expansion in North Africa weakened Al-Andalus. The Battle of Las Navas de Tolosa (1212), marked the beginning of the end of the Almohad dynasty. The weakness caused by the collapse of Almohad power and the subsequent creation of third Taifas kingdoms helped the rapid conquest or reconquest of Christian lands in the valley of the Guadalquivir. Cordova was conquered in 1236 and Seville in 1248. The Reconquest of Granada in 1492 put an end to Muslim domination.
On August 3, 1492 Columbus left the town of Huelva Palos de la Frontera, with the first expedition that resulted in the discovery of America. Many Andalusians participated in the expedition that would end the Middle Ages and signal the beginning of modernity. Contacts between the Spanish and America, including maintenance of the colonies until the end of the colonial period, came almost exclusively through Andalusia. The reason for the importance of Andalusia is that all traffic to the new continent became, in reality, an andalusian monopoly. This was an era of splendor and boom for the region, which became the wealthiest and most cosmopolitan of Spain and one of the most influential worldwide.
Provenance: Almería
Song with four, eight syllable, verses that belongs to the group of 'levante' and within theses those of the 'minas'. Its origin could be that of an old folk 'fandango' from Cartagena, although there are two theories which differ from this one. The first, attributes it to the Concha la Peñaranda, also known as la Cartagenera. However many experts believe that the father of this style was Rojo el Alpargater (in this case it would mean that the song would have originated in Almería). Presently there are two types of 'cartagenera': the classic, that has minor tones and that of 'Chacón' with a complex melody.
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Provenance: Almería, Jaén
Song with a 'copla' of four or five, eight syllable, verses that belongs to the group of 'levante' and within this group the style of the 'minas'. It is a very marked style of 'taranta' and was generated in the mountain range of La Unión in Murcia although its creator was El Rojo el Alpargatero from Alemería, who gave it to his son so that it would perpetuate in history. In reality it presents few differences to the 'taranta' except certain marked melodic nuances. Its main performers are Pencho Cros, Antonio Piñana, Encarnnación Fernández, Fosforito and José Sorroche.
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Provenance: Almería
Song with a 'copla' of four or five, eight syllable, verses that belongs to the group of 'levante'. Its origins aren't clear because the discography is so muddled, that songs diametrically opposite are catalogued as 'murciana'. Although this is a style from Cartagena, it has an important presence in Almería, where José Sorroche interpreted it with skill.
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Provenance: Almería, Cádiz
Song with a 'copla' of four, eight syllable, verses that on singing generally become six, due to the repetition of one of them and the adding of another from elsewhere. It is one of the most curious flamenco styles. Its history is uncertain, although there is a certain consensus that its name comes from a singer from Paterna de Rivera (Cádiz), or from Paterna del Río (Almería), known as 'la Paternera'. It is surrounded by superstition, since its first words speak of burials and funerals, the majority of gypsies still don't accept it. It is a very old type of song that even proceeds the so called 'plañideras', but its transition to flamenco didn't occur until the XIX century, when Medina el Viejo created what is now known as the 'petenera chica'. Later on, 'la Niña de los Peines' made a more adorned version, difficult to execute and now known as the 'petenera grande. It is accompanied 'por arriba' and its beat is relatively free style, because in some places it is fixed to 6/8.
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Provenance: Almería, Jaén
Song with a 'copla' of four or five, eight syllable, verses, one of these is repeated on singing. It belongs to the group of 'levante' and within these, the so called songs of 'las Minas'. Its origin is attributed to Antonio Graus Mora 'El Rojo el Alpargatero', who probably based it on some 'almeriense fandango'. It is interpreted in a free style, in so far as the measure of its 'tercios' and accompanies the guitar in F sharp. After its birth in Almería this song extended to places such as Linares and other mining areas such as Jaén and the province of Murcia, (especially the Unión). It is where all the other 'cantes mineros' come from.
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Provenance: Almería
Song similar to the 'taranta', that differs from it in its necessity to be fixed to a rhythm. Contrary to what you would think, it was came about after the cited 'taranta' in Almería and afterwards spread to other places. Amongst its fathers are always cited, Rojo el Alpargatero and Chilares, who could have adapted the old 'taranta' to convert it to a danceable style, despite the dance of this name being attributed to Carmen Amaya from Cataluña, in the 40's.
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Provenance: Cádiz, Córdoba
Song with 'copla' of four, eight syllable, verses that belongs to the group of the 'cantiñas'. It was came about as a danceable song and is formed by a succession of 'coplas' between which the so called 'juguetillos' are usually interspersed. It is eminently a style from Cádiz, although another very peculiar version can be found in Córdoba and is related to the old jig from Cádiz. The dance is difficult to execute and is characterised for having very fixed 'escobillas' and a calm part called 'silencio' and in it the traditional 'tirititrán' is vocalised. According to Chano Lobato it was invented by Ignacio Espeleta during a party in which he forgot the words. History has marked Aurelio Sellés, Pericón de Cádiz, Fosforito, la Perla or Camarón as great performers of this genre.
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Provenance: Cádiz
Rural song coming from Andalucian folk music, which was sung during the threshing in the 'gañanías andaluzas' to the sound of the ringing of donkey bells. There are those who think that it isn't exclusively Andalucian, although its similarity to the 'toná' (since it doesn't have musical accompaniment either) could contradict this theory. They are wide spread in the area of Jerez and are very similar to the 'trillera and 'aceitunera'.
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Bulerías
Provenance: Cádiz, Sevilla
Song with a 'copla', generally three or four, eight syllable, verses of a festive and noisy character. Etymologically it could come from the word mock ('burla') and from this came to the name of 'buleria'. It is dated from the XIX century and was born from the 'soleá', a style from which it takes its beat, to increase the rhythm. In this song two variations can be distinguished: 'bulerias' to dance to, which present a multitude of styles and 'bulerias al golpe', created more for listening and also so called ' bulerías por soleá' a style which for some experts was prior to the 'bulería' itself. Many attribute its creation to Loco Mateo and Gloria, who could be the parents of the 'buleria por soleá' but the great driving force of this song were Manuel Vallejo and La Niña de los Peines from Sevilla. Despite this, the bulería counts on a great variety of styles, such as those from Cádiz -in major tones, those from Jerez - in modal tones, or the 'cuplés' - in minor tones, these varieties having been brilliantly performed by la Perla de Cádiz, Terremoto de Jerez and la Fernanda de Utrera, respectively.
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Provenance: Cádiz, Sevilla
Song from the 'seguiriya' group, with 'coplas' of four, eight syllable, verses. Its creation is attributed to El Fillo, who could have given it it's name, after a young lady paid so little for the song that the artist responded 'I sang for 'cabales' and this isn't 'cabal'. It differs from the 'seguiriya' in its intonation, since it is executed in major tones and the best known performers of this genre are Silverio and El Pena.
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Cantiñas
Provenance: Cádiz, Sevilla
Generic name that includes 'caracoles', 'mirabrás', 'romeras' and 'alegrías'. This song is naturally from Cádiz and the ports of it bay, although there are other styles, such as the 'Pinini', deeply rooted in areas such as Utrera and Lebrija. Its 'coplas' are generally short and supposedly related to the old jig from Cádiz. It is executed with the same beat as the 'bulería' or the 'soleá' but melodically it is structured in major tones.
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Caracoles
Provenance: Cádiz
Song whose 'copla' consists of a series of stanzas, with verses of different measures. It belongs to the group of 'cantiñas' and melodically it is close to that of the 'alegrías' and, in some 'tercios', to the 'mirabrás'. It leaves little room for improvisation, since contrary to other 'cantiñas', in 'caracoles' the words tell a long story, for which reason the stanzas can't be mixed at the discretion of the singer. Its etymologically is probably from this song being created by someone proclaiming 'caracoles'. José Blas Vega attributes it to Tio José el Granaino.
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Carceleras
Provenance: Cádiz, Sevilla
Song with a 'copla' of four, eight syllable, verses related to the group of the 'tonás'. It is very similar to the 'martinete' up to the point that, the only difference is in the words, which in the case of the 'carcelera' always relate to prisons, forced labour, condemned men/women...
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Corrido gitano
Provenance: Cádiz, Sevilla
Also called 'corrida'. It is a song without musical accompaniment, like the 'tonás' and comes from the 'romances populares andaluces', for which reason many studies have catalogued it as the oldest flamenco style and the father of the cited 'tonás'. In the 'Gitanilla de Cervantes' mention of this style was already made, for which reason, according to Blas Vega, 'the 'romances' where maintained in the popular spirit throughout the XV century.' These consecutive and monorhythmic songs are not accepted by the upper classes, for which reason they spread amongst simple villagers and so gave rise to the 'romances plebeyos'. The environment also gives rise to the 'Romance de Gerineldos', 'Ciego la Peña' and 'la Princesa Colinda', which could be of morish decentry because according to the explanations of Washington Irving 'they are rude simple tunes with few inflexions. They sing them loudly and with pronounced cadences". El Planeta, Chicklanita, El Negro- 'Romance de la Monja'-, El Chozas, Pepe de la Matrona and Agujetas el Viejo have gone down in history as the cultivators of this style.
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Guajiras
Provenance: Cádiz
'Guajiro' is a Spanish word, designating white farmers from Cuba. It is a 'cante de ida y vuelta' which comes from Cuban folk music, with a 'copla' of ten verses, of eight or ten syllables. Its words refer, above all, to La Havana and its inhabitants, and its beat is the same as that of the 'bulería', although with different accentuation. It is always executed in major tones. According to many experts this song should really be called 'punto cubano' since it already existed in Cuba with this name. A great part of its melodic richness is due to Pepe Marchena.
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Liviana
Provenance: Cádiz, Sevilla
Song with a 'copla' of four verses, the first and third are seven syllable, the second and fourth are five syllable, and rhyme in pairs. It is a 'seguiriyas' with some nuances that receive its name, in theory, because it is easier to execute them. It is rarely sung and presently its use has been used in the preparation of the 'serrana', as a 'copla de adaptación'.
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Malagueña
Provenance: Cádiz, Málaga
Song with a 'copla' of four or five, eight syllable, verses with a crossed assonant or allocated rhyme, which generally passes to six, due to the repetition of the first or third. Basis for the songs of 'levante' and those that come from the old 'fandangos malagueños'. It was converted into a flamenco style in the first half of the XIX century. It's a song for dancing and is very rich from a melodic point of view. There are numerous variations of the 'malagueñas' in function of its creators, who come from both the province of Malaga as well as others such as Cádiz. In this style Enrique El Mellizo, Antonio Chacón, La Trini, El Pena, La Peñaranda, Baldomero Pacheco, El Personita or Gayarrito among many others, stand out. It is accompanied by the guitar 'por arriba' and is a 'ad libitum' song. On many occasions it is finished with a 'fandango abandolao'.
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Martinete
Provenance: Cádiz, Sevilla
It probably originated from a balcksmiths. Song with a 'copla' of four, eight syllable, verses, which is considered a variety of the 'toná', such as the 'carcelera' or the 'debla'., differing form these in words and a determined type of melody that always finishes in the major tones. It is usually a sad style and isn't accompanied by the guitar, which is the case of all the group of 'tonás' although in this case, it is usually wrapped in the percussion of a mallet against an anvil.
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Mirabrás
Provenance: Cádiz
Song originally from Cádiz with a 'copla' of four irregular verses. It is a 'cantiña' and probably came about in Sanlúcar de Barrameda. It requires a singer with great ability, since there are important changes in tone, octave and the beat has to be followed closely, since it is a dancing style. Its words usually remember the tasks of travelling salesmen and markets. It is attributed to an old singer called Tio José el Granaíno, also known as El de Sanlúcar.
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Nanas
Provenance: Cádiz, Sevilla
It is a song that doesn't fit any specific beat, but instead usually borrows the structure of the 'toná' or even that of the 'bulería por soleá'. It is employed to sleep children.
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Romance
Provenance: Cádiz, Sevilla
See 'corrido gitano'. In recent times Antonio Maireno called 'romances' some 'bulerías al golpe' accompanied by the guitar 'por arriba' that always followed the same melodic structure and, according to the cited singer, were performed in the past by 'Mellizos' and 'Chiclanita' amongst others.
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Romeras
Provenance: Cádiz
Song with a 'copla' of four, eight syllable verses, nearly always with an assonant rhyme in pairs. It is a 'cantiá' for dancing that originated in Sanlúcar de Barrameda from Romero el Tito. Its' dance is similar of the 'alegrías', since it has the same beat, but differs from it in the melody."
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Rosas
Provenance: Cádiz
Song with a 'copla' of four, eight syllable, verses with an assonant ryhm in pairs. Belonging to the family of the 'cantiñas' and could have come about in Sanlúcar de Barrameda. It is a song with a chorus very similar to the 'alegrías' and currently is in disuse. Fosforito recorded it on various occasions.
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Seguiriyas
Provenance: Cádiz, Sevilla
Song normally composed by four verses, the first two and last are six syllable, and the third is eleven syllable, divided in two parts per verse of five and six syllables and you can also find those with three verses. Its origin, although uncertain, has to be dated at the geneis of flamenco, since there is proof that it was sung in the XVIII century. It is by excelence the song of sorrow and presents a extensive variation in style. The accents of its beat has lead many into thinking that it is a 'amalgama´ beat. In reality it is 12/8 in which the silences play an important part. It is always accompanied by half modal tones, although some personal styles present brief supporting major chords, these changes in rhythm being known as 'acabalados´, due to thier similarity to the 'cabal´. Its main centre of creation is Jerez de la Frontera, where Paco la Luz, Manuel Molina, el Loco Mateo, María Borrico, Juanichi el Manijero or Joaquin Lacherna are from. However this song is also licitly buried in Cádiz by the performance of el Mellizo, Enrique el Gordo, Curro Durse and in Sevilla - Caganchos, Pelaos, Frasco el Colorao...
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Soleá
Provenance: Cádiz, Córdoba, Sevilla
Song with a 'copla' of three or four, eight syllable, verses, with a consonant rhyme. It could have originated in the XIX century, to acompany a dance called the 'jaleo'. However bit by bit it did turn into a song with its own identity. The first reference to this style is that of 'Andonda' a singer from Triana who went down in history for her singing, from this it can be deduced that the 'soleá' originated from Triana and despite this spread quickly. A gypsy called Paula went with all her family to Alcalá de Audaira, and founded there the 'saga de los Gordos'. People took the song of 'soleá' from Triana however in the 'Virgen del Águila' a new autodidactic style arose that has lasted until today. According to Antonio Mairena, Joaquín el de la Paula is the most representative performer of this style, although Juan Talega and Manolito de Marcía have also to be mentioned. The 'soleá' arrived in Jerez by a similar way, where Antonio Frijones created another personal style. The richness of the 'soleá' in Cádiz would oblige us to mention an infinite number of artists and for which there is only room to mention El Mellizo, Paquirri el Guanté and Curro Durse. Utrera is a separate case, Mercé la Serneta from Jerez arrived in this very gypsy area of Sevilla to marry the father of the Alvarez Quinteros on their second wedding. There this gypsy developed her 'cante por soleá' and from this Rosario la del Colorao and Perrate take reference, who would end up creating their own style in this area. Lebrija is the same type of case, where Jauniquin from Jerez, arrived with another very emphasised style. Other areas with their own style of 'soleá' are Marchena - 'la de la Tia Gilica' and Córdoba - 'Onofre', that takes reference from the 'trianero' style of Ramón el Ollero. It is one of the richest styles of flamenco at the moment, executed in 3/4 and can be accompanied by the guitar in modal tones 'por arriba' or 'por medio'.
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Tientos
Provenance: Cádiz, Sevilla
Song with a 'copla' of three or four, eight syllable, verses that belong to the family of the 'tangos', from which they take their beat although at a slower rhythm. It is a recent creation, probably at the start of the XX century. Its first great performer was Diego el Marrurro, although references are also made of a great enthusiast in Jerez called Pepe el Gallo. Despite this, the great disseminator of this style is Antonio Cacón and not, as has been written on many occasions, Manuel Torre. Presently it is a style with great validity that nearly all the singers perform.
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Tonás
Provenance: Cádiz, Sevilla
Song with a 'copla' of three or four, eight syllable, verses, the second and the forth have a assonant rhythm, that is usually finish with an imperfect terceto. For nearly all experts it is the 'cante madre' mother of flamenco, and from this come all other. Its origin is uncertain although it could have its history in the 'romances' or 'corridos gitanos' that El Planeta and Tio Rivas performed. Its birth could be dated as around 1770 in Jerez and in Triana. It is a song without any musical accompaniment which encompasses in a generic form the 'martinetes, 'deblas' and 'carceleras'. Many 'tonás' have gone down in history with a name of thier own, thanks above all to the writers Ricardo Molina and Antonio Mairena, who don't stick too much to rigor. Despite this, they speak of the 'toná liviana' of Tio Luis de la Juliana', 'toná del Cristo', 'toná de los pajaritos, 'toná del Tio Luis el Cautivo' , 'toná de Blas Barca', 'toná del Tio Rivas', 'toná del Cuadrillero', 'toná liviana de Curro Pabla', 'toná liviana de Juan el Cagón' , 'toná liviana de Tia Sarvaora', 'toná de la Junquera', 'toná de jaunelo', 'toná de Perico Frascola'...
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Trilla
Provenance: Cádiz
Rural song coming from Andalucian folk music, which was sung during the threshing in the 'gañanías andaluzas' to the sound of the ringing of the donkey bells. There are those who think that it isn't exclusively Andalucian, although its similarity to the 'toná' (since it doesn't have musical accompaniment either) could contradict this theory. They are wide spread in the area of Jerez and one of its biggest performers was Bernardo el de los Lobitos. Currently Fernando de la Morena includes it frequently in his repertoire.
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Vidalita
Provenance: Cádiz
Song of the so called 'ida y vuelta' style that is very similar to the 'milonga' up to the point that some experts don't differentiate between the two. Its creation is attributed to Niño Escacena, who varied certain melodic points of the 'milonga' during the era of the 'Ópera Flamenca' (flamenco opera).
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Serranas
Provenance: Córdoba
The experts have as of yet not been able to locate geographically the origins of the 'cante por serranas'. Many think that it comes from Córdoba, but this is only one hypothesis. It is a 'copla' of four verses that rhyme in pairs, the first and the third have seven syllables, the second and fourth have five syllables. It is definitely related to the 'seguiriya' since it follows the same rythmic structure, although its accompaniment by guitar is done 'por arriba', in E, instead of 'por medio'. It is known that, one of the first people to perform it was Silverio Fanconetti and afterwards El Mochuelo, El Tenazas, El Onubense Antonio Rengel. Its words tend to make reference to banditry, and from there the name of the 'serrana' for this reason it isn't strange that this song began in the XIX century. Its structure is very rigid and in begins with a 'temple por liviana' all the 'serrana' is executed in F and finished in different ways, the most widely spread is the 'seguiriya' by María Borrico, but the 'macho' by Pepe de la Matro is used or even the 'cante abandolao'.
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Zángano de Puente Genil
Provenance: Córdoba
A style of the 'fandango abandolao' that comes from an old folk variety from the area from which it gets its name. In recent times it has been greatly disseminated by Fosforito.
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Temporeras
Provenance: Córdoba, Jaén
Rural song from Andalucian folk music, sung during the harvest in Andalucia. It is believed that it isn't exclusively from Andalucia, although its similarity with the 'toná' contradicts this theory. It is a song characteristic of the province of Córdoba and is very similar to the 'trillera', 'arriera' and 'aceitunera'.
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Granaína
Provenance: Granada, Málaga
Song with a 'copla' of five, eight syllable, verses, that generally the first, third and fifth consonant rhyme and on signing usually changes to six due to the repetition of one of the first two. It is from of the group of the 'levante' and, as with the 'malagaueña', it takes its structure from the 'fandango'. The majority of experts attribute its creation to Antonio Chacón, who could have based its composition on the melody of the 'malagueña' and who spent a long time in Granada in around 1890. It is sung free style and is accompanied by a guitar in B due to its high tessitura. Great performers of this style have been, Manuel Vallejo, Marchena, Enrique Monte or Naranjito de Triana.
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Media Granaína
Provenance: Granada, Málaga
Song with a 'copla' of five, eight syllable, verses, generally the first, third and fifth consonants rhyme and on singing usually convert into six, due to the repetition of one of the first. It is exactly the same as the 'granaina', except that the changes in rythm are more conected and it is more difficult to perform, above all at the climax, which is more elongated.
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Aceituneras
Provenance: Jaén
Rural songs from Andalucian folk music, sung during the collection of the olive. It is believed that it isn't exclusively from Andalucia, although its similarity with the 'toná' contradicts this theory. It is a song characteristic of the province of Jaén and is very similar to the 'trillera', 'arriera' and 'aceitunera'.
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Caña
Provenance: Málaga
Song with a 'copla' of four, eight syllable, verses, the second and fourth ryming. It is a long style to be related to with the 'soleá' that is finished with a 'macho' difficult to execute. It is characterised with the presence of some 'ayes' at the end of each 'copla' and some theorists consider it the basis of many songs. Currently it is a style that has once more taken on the dance, created by Carmen Amaya in the 30's. In so far as its words, there are very few varieties and the phrase 'arsa y viva Ronda' can give us important data about its origins. It is acompanied by the guitar to the beat of the 'soleá por arriba'.
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Jabegotes
Provenance: Málaga
Also known as the song of the 'marengos'. It is a 'cante abandolao' characteristic of the coasts of Málaga, specifically the maritime dragnets. It is nearly in disuse.
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Jaberas
Provenance: Málaga
Song with a 'copla' of four, eight syllable, verses that belongs to the group of the 'fandangos abandolaos'. Its name seems to come from a seller of beans 'La Jabera' to whom its creation is attributed. It is a 'fandango' that is acompanied 'por arriba' and requires great ability of the artist who performs it, since in it the 'arabescos' and 'melismas' are dominated and there is hardly any room to take a breath. It is one of the oldest styles of 'malagueños' its main performers being: Fosforito, Curro de Utrera, El Chocolate or Carmen Linares among others.
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Polo
Provenance: Málaga
Song with a 'copla' of four, eight syllable, verses, the second and fourth rhyming. It presents numerous musical tastes, with the 'caña' and arises as a flamenco style, at the end of the XIX century. Although before this danceable folk music, acompanied by 'vihuelas' (instrument like a guitar but bigger) tambourines and lutes, existed with the name 'polo'. Its invention is attributed to Tobalo from Ronda, although many experts aren't in agreement with this premises. Currently it is not a usual song, that starts with a 'ayeo' which serves to attune and is usually finished with the so called 'soleá apolá de Triana', since the 'polo' belongs to the 'solerarera' family. It is a song a style freer than that of the 'caña' in so far as the singers possibilities of improvisation, but has a fixed beat of 3/4. Amongst the first singers that literature cites as great maestro's of this style are; Tobalo, El Plantea, El Fillo, Curro Durse, Antonio Chacón, Pepe el de la Matrona, Antonio Mairena and Fosforito.
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Rondeñas
Provenance: Málaga
Its not known if it's name comes from the city of Ronda or from a 'ir a rondar'. 'Copla' of four, eight syllable, verses, that convert into five due to the repetition of the second. It is a very old 'fandango abandolao' with a very marked melody, that is used on many occasions to finish the 'malagueña'. A distinction can be made between 'ronda grande' and 'chica', since the two styles don't have anything to do with one another, although they follow the same metric structure.
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Verdiales
Provenance: Málaga
Its name comes from the 'Verdiales', a olive growing region of Málaga, where the 'verdial' olive is cultivated. It is a 'copla' of five, eight syllable, verses, the first of which is usually repeated in third place and on occasions with four verses with the repetion of the first in third place and the last twice. It is a prototype of the 'fandango campesino' with simple and happy words, a monotone rhythm that lmakes its primitive origins evident. It is usually performed in the so called 'pandas'. Where on top of the guitars there are lutes, 'bandurrias' (type of mandolin), tambourines, and castanets.... It is a danceable song which ascends from the 'morisca' and hasn't quite finished capturing the flamenco influence today, maintaining all its folk music roots.
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Zarabanda
Provenance: Málaga
It is another 'cante abandoloa' which was recorded for the first time by El Niño del Genil in 1911, although its performance by La Rubia de las Perlas was outstanding. It is another style almost in disuse.
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Bamberas
Provenance: Sevilla
Also known as 'cante del columpio', for its pronounced melodic swings. It is a song with a 'copla' of four, eight syllable, verses. It obviously originated as folk music and is one of the clearest examples existing of flamenco influence on music, since it was La Niña de los Peines who gave it is actual form. In reality Pastora took various words of the popular songs and gave them a flamenco character, adjusting them to the beat of the 'fandangos' and not to the 'soleá', as has been written on many occasions. It was Naranjito de Triana and Paco de Lucia who changed the concept of this song and respecting the melody of Pastora, changed the tempos to that of 'soleá por bulerías'. Today this is the beat that is executed and it is acompanied 'por arriba' finishing in minor tones.
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Campanilleros
Provenance: Sevilla
Song with six assonant verses, the first, third and fifth are ten syllables and the second and fourth are twelve. It is a song of popular origin and was sung during the so called 'Rosario de Aurora'. Its transformation to flamenco can be pinpointed. Manuel Torre from Jerez, heard this song in a party of Andrés Martinez de León, Manuel heard a song in a party held by Andres for the Galeano Onubense Jesús Centeno. The singer remembered the 'copla' and one night in El Fontanal (Sevilla), with Niño Ricardo, the bullfighter Niño de Palma, el Gloria and Rebollo he asked the guitarist to put the capo on all three and remembering what he had heard at the party, performed the version which is now known in flamenco. Other great performers of this Christmas song where La Niña de la Puebla and Juan Varea.
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Colombianas
Provenance: Sevilla
Song with turns from Latin American folk music, developed by José Tejada Martín, Pepe Marchena that apart from being its creator has been the main performer of this style. Marchena invented this song with Hilario Montes, taking as a base the 'rumba española' and performed it in public for the first time in the company of the singer Niño de la Flor from Madrid. The 'copla' is of six, eight syllable, verses, of which the artist usually repeats the first two in the way of a chorus. In the opinion of José Blas Vega, on studying the styles of 'ida y vuelta', 'towards 1930 a new style appeared the 'colombiana' motivated more by a song than by the folk influence and could have come from Colombia.
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Debla
Provenance: Sevilla
In 'caló' it means Goddess. Part of the basis of the 'toná', for which reason it is sung without the accompaniment of a guitar. Its melody requires a melismatic adorning, more abrupt than the rest of the songs of this group. There are multiple theories about the origins of the 'debla'. The oldest of them affirms that it is the creation of a singer called Blas Barea, since at the end of the 'coplas' the phrase 'deblica barea' was always said. However, it is believed that this version disappeared and what we now know as 'debla' is the song that Tomás Pavón rescued from the 'cava' of the gypsies of Triana, something which lead to him to fall out with other singers of his ethnic background, such as Juan Talega.
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Garrotín
Provenance: Sevilla
Dance not originating from Andalucia but practised above all in Sevilla, the song arising afterwards. It is believed that it came from Asturias or the old kingdom of León, where they perform the 'garrotiadas' and afterwards passed through Cataluña, where it was absorbed by the gypsies of the area. The dancer Faíco made it well known, whilst in song Niña de los Peines has to be cited, who made a great version in this style. It has the beat of the 'tango' and its words are usually simple in content.
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Marianas
Provenance: Sevilla
It is a song from the group of the 'tangos' but slower like the 'tientos', that, according to many flamenco experts, came from some gypsies were singing to a goat called Mariana. It is acompanied 'por arriba' and one of its first performers was Bernardo de los Lobitos. Presently it is often executed with the words of Francisco Moreno Galván and was performed in public for the first time by Miguel Vargas.
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Galeras
Provenance: Sevilla
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Alboreá
Provenance: Almería, Cádiz, Córdoba, Granada, Huelva, Jaén, Málaga, Sevilla
Song of gypsy origins, with a 'copla' of four, six syllable, verses and a chorus. It is one of the best guarded styles of this ethnic group, although in recent times singers such as Rafael Romero "El Gallina" and Joselero de Morón have not hesitated to perform it. The gypsies jealously guard this since it is melody found in thier wedding rites and the most used words make reference to the virginity of the bride. It is usually adapted to the tempos of the 'soleá por bulerías'. They are predominantly found in Sevilla and Cádiz but also in all other parts of Andalucía and some areas of Extremadura.
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Saetas
Provenance: Almería, Cádiz, Córdoba, Granada, Huelva, Jaén, Málaga, Sevilla
This song is performed in all of Andalucia during the Easter processions. In reality it isn't an independent and solid style, but instead in employing words relating to the passion for Christ, is executed in the style of the group of 'tonás' - 'seguiriya', 'martinete', 'debla', 'carcelera' - and adorned with a large quantity of 'melisimas', although the main scheme of the melody remains intact. The word Saeta proceeds from the first chants of the Brothers of Mortal Sin ('Hermanos del Pecado Mortal') performed and those of Aurora around the XVIII century. However it became a popular song around 1840, the 'vieja cordabesa', 'cuartelera de Puente Genil' or the 'samaritana de Castro del Rio', standing out. It could have been Enrique el Mellizo who first sang this in front of a religious icon for processions, in the neighbourhood of Santa María in Cádiz, but there is no written record of this. What is true that years later the 'saeta' rose to splendour in the voices of El Gloria, Manuel Centeno, Manuel Torre, La Niña de los Penes, Manuel Vallejo and above all La Niña de la Alfalfa.
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Zorongo
Provenance: Almería, Cádiz, Córdoba, Granada, Huelva, Jaén, Málaga, Sevilla
The 'zorongo' was a black American dance, of great success in theatres, dance schools and parties during the romantic era that has fallen into disuse. However, gypsies began to cultivate this dance at the beginning of the XX century, in such a way that it has been converted into a style, now belonging to the repertoire of many dancers and guitarists. It is performed in modal tones with the first part being free style and a chorus to the tempo of the 'bulería'.
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Sevillanas
Provenance: Sevilla
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