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The Structure of the Saeta Flamenca: An Analytical Study of Its Music
Author(s): Corinna Kramer and Leo J. PlenckersSource: Yearbook for Traditional Music, Vol. 30 (1998), pp. 102-132Published by: International Council for Traditional MusicStable URL: http://www.jstor.org/stable/768556
Accessed: 25/04/2010 14:53
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THE STRUCTURE OF THE SAETA FLAMENCA:
AN ANALYTICAL STUDY OF ITS MUSIC
by Corinna Kramerand LeoJ Plenckers
IntroductionIn modern musicological literature the saetais considered to belong to the
domain of canteflamenco.t is a kind of song that is performed in several citiesand villages of Andalusia, the most southern province of Spain. The lyrics,a stanza generally made up of five lines, deal with the suffering of Christ
or the grief of his mother Mary. The music of the saeta is a rhythmicallyfree flamenco song containing many melismas and ornaments. It is performedwithout the accompaniment of instruments (a palo seco; iterally, "with a drystick"). The performance of saeta takes place in the religious processionsthat are held in town during Holy Week, before Easter, and are organizedby the local religious brotherhoods, the cofradias.During these processionsthrough the streets of the cities, huge images of Christ and the Virgin Mary,called pasos, are carried. When at specific times such a procession comes toa halt, a singer, who is generally hired for the occasion by one of the local
brotherhoods, may take the opportunity to direct him or herself to the image
and perform a saeta. The performance gives listeners the impression of aspontaneous and improvised outburst of a musically gifted worshipper, who
expresses his grief and feelings of sorrow aroused by the image.The origin of the saeta tradition is unknown. The tradition of singing saetas
in front of an image existed already in the nineteenth century, but thetradition of carrying images in Holy Week processions may be much older.
Initially the saeta was not performed in the flamenco style and its musical
requirements were rather modest: the singer need only have "a ringing and
powerful voice and a clear pronunciation, so the words of the copla could
be understood"' (Rossy 1966:147). It is only at the beginning of the twentieth
century that the brotherhoods began to hire flamenco singers. The distinctionbetween the so-called saeta vieja or antigua and the saeta lamenca also datesfrom this period. The saetaviejais considered to be the original popular formof the saeta, characterized by a simple melodic line that is sung in a syllabicstyle by anyone who feels the urge to express his/her feelings of compassion.The saetaflamenca,however, is characterized by typical elements of the cante
jondo, such as the use of melismas and specific ornaments. It is performedby singers who are experts in the flamenco style.
The scope of this research
In this article we make an attempt to define the musical models and themodal characteristics that constitute the basis for improvisation in the saeta
flamenca. Particularly, the following five styles (estilos) will be analyzed anddiscussed:? the saetapor siguirzya;? the saetapor martinetes;
? the saetapor carcelera;? the saetapor siguiriyay cambiopor martinete;
? the saetapor siguiriyay cambiopor carcelera.
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SAETAFLAMENCA / 103
Subsequently the structures of the saetaflamencaand the saetaviejawill be
compared in order to clarify the relation between the two song types. Wewill show that these structures are very dissimilar and that it is doubtful
whether the saetaflamencastems musically from the saetavieja,as is suggested
by Larrea (1949), among others. However, the question of the musical originof the saetaflamenca will remain unsolved.
The research methodology of the structure of the saetaflamenca may be
called heuristic. First, we proposed a hypothetical basic structure for a
particular type of saeta on the basis of one or more performances. Secondly,we tested this basic structure by comparing it with other performances of
the same kind of saetas, and made adjustments if necessary. This research
is based on audio recordings of 30 saetas, as listed in Appendix I. Theseare taken from commercial recordings, since they are more widely available
than private fieldwork recordings.As for the use of "structure" and "structural," these terms are used to
signify syntactical linkage between musical phrases and periods. The analysisof different musical structures is primarily represented in a number of
paradigms. In these paradigms the musical units are arranged in a way similar
to the one explained by Ruwet (1972:116). As opposed to Ruwet's study, this
paper presents a rather broad and sketchy notation of the music. It is meant
onlyto
givethe reader an
insightinto the
systemof
phrasesand
sub-phrases.A sketchy notation is sufficient for this purpose, as it is meant primarily as
a visual aid to an analysis that is basically aural. The musical data have been
taken from easily available commercial records, so in principle there is no
need for the reader to imagine a reconstruction of the sound event from the
score. There were two more considerations to opt for a sketchy notation.
Firstly, a comprehensive and detailed notation of the pieces would lead to
large paradigms that would contain data that are not relevant for this research.
Secondly, this article does not deal with melodic movements in detail or with
performance aspects such as ornaments, intonation, dynamics, etc. These
important aspects can be dealt with in a more successful way by using digitalsound analysis equipment, as has recently been shown by Manfred Bartmann
and Werner Deutsch (1994).
Preceding research
The musical relation between the saetaviejaand the saetaflamenca as hardlybeen investigated until now. The musical structure of the saetaviejawas the
subject of thorough research by Larrea (1949), and several transcriptions of
saetas viejas have been published.2 However, musicologists have paid little
attention to the musical structure of the saetaflamenca. We only know that
these are to be sung in the previously mentioned styles. Musical notationsof saetas flamencas are almost completely lacking.3 However, there are
recordings of the saeta lamenca available on CD and cassette.It is difficult to find a reason for the lack of musicological interest in the
saetaflamencan comparison with the saetavieja.An explanation may be found
in the generally accepted view that the first developed from the second. This
development is coined aflamencamientorflamenquizacion,and has been defined
by Miillerburg (1985:18) as the "transformation of the popular song typeinto Flamenco song."4 This definition shows that Miillerburg understands
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104 / 1998 YEARBOOK FOR TRADITIONAL MUSIC
the saetaflamencaas a particular way of performing the saetavieja.Her opinion
seems to be shared by Criville (1983:284) who states that the modern saetaflamenca s performed "in the style of the seguidiya =siguiriya]or the martinete."5He adds a musical notation of a saeta vieja taken from Fray Diego deValencina.6
The research material
This research is mainly based on twenty-five saetas collected by Frederic
Deval and published on CD in 1993 (Appendix I, [6]). Fifteen performanceswere recorded live during the "XXI Concursode Saetas en la calle" in Jerez dela Frontera.7 The other recordings were made in the studio; they are
performances bymusicians of Arcos de la
Frontera, Lebrija, Sevilla,and
Jerez de la Frontera.
In the CD booklet, five different terms are used to label the saetas. Eighteensaetas are classified as saetaporsiguiriya.The term "saetapor martinete" s usedfor three saetas. Two saetas are labeled "saetapor carcelera,"ne called "vieja"and another "porsiguiriyay cambiopor carcelera."Other types of saeta, such
as the saetascuartelerasnd saetasquintasand sextasare not included in the CD;
therefore, they are not discussed in this article.
Because of the predominance of the saetas por siguiriya in the Deval
collection, we included other commercial recordings in our data base. An
overview of the audio recordings studied is given in Appendix I. The saetasof the Deval collection will be referred to in this study by their numbers,
preceded by the capital D (Deval). Other saetas that are discussed are
indicated by A (additional), followed by a number.
The lyrics of the saetasIn 1985 Marion Miillerburg published an extensive study on the poems
that are sung as saetas. As her analyses and descriptions fully apply to the
lyrics of the saetas of the Deval collection, a few pertinent remarks may suffice
here. The majority of the lyrics are made up of four or five octo-syllabic
lines. The end-rhyme pattern of the five-line poems (quintilla) is generallyababa or abcbc; that of the four-line poems is abab or abcb. There are few
lyrics containing three, six, or more lines. These lyrics are very irregularand do not show a fixed number of syllables or a specific rhyme pattern.Deval's additional notes to the reordings suggest that there is a correlation
between the subject of the song of the saeta and the image (paso) to whichit is addressed. Lyrics referring to some episodes of the Passion are addressedto an image representing Christ, while lyrics that allude to the grief of hismother Mary are sung to her image.8 There is only one exception. The lyricsof D3 are about the support given by Simeon to Christ in carrying the cross,
yet it is sung in front of an image of Mary called "Nuestra Seiora de laCandelaria."
It is interesting to examine whether there is a relation between the lyricsand the music. Does the musical division in saetaporsiguiriya,saetaporcarcelera,and saetapor martinete orrespond to a categorization of the lyrics accordingto their subjects (Christ, Mary, Peter, Pilate, prison, etc.)? Unfortunately,a clear relationship could not be found, since the number of analyzed saeta
(30) is too small to establish such evidence. In fact, the opposite seems to
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SAETA FLAMENCA / 105
be more probable, as some additional data have shown that the same lyricswere
sung bysome
performersas a saeta
por siguirzyaand
byothers as a saeta
por martineteor saetapor carcelera.In the spring of 1995 Corinna Kramer interviewed several singers and asked
their opinions about the relation between the subject of the lyrics and the
musical mode of the saeta.9 Their answer was, rather generally, that lyrics
dealing with the suffering of Christ are preferably performed as saetapor
siguiriya,whereas poems about Mary are generally sung as saetapormartinete.
The saetaporcarcelera hould always be about the prison, as the name carcelera
(< carcel=prison) indicates. These connections probably reflect more the ideal
view or a general belief of the singers interviewed, rather than the common
musical practice. When invited, all the performers were more than willingto perform the same lyrics in different styles.
The saeta por siguiriyaThe term saetapor siguiriya may be best explained as a saeta performed
in the style of the siguiriya.Siguiriya tself is a kind of song, described by Garcia
Matos (1958:11) as "having the most sensitive, sad and deep expression of
all the flamenco songs."10 Its origin is unknown, and this fact has led manyscholars to formulate rather far-reaching speculations. For a survey of these
different theories of origin, the reader is referred to Criville (1983:285). The
siguiriyais generally considered to belong to the flamenco songs with guitaraccompaniment (Criville 1983:278). However, an interesting collection offlamenco songs, the Magna Antologia del Cante Flamenco (1982; Appendix1, [3]), contains a number of siguiriyas hat are sung without any instrumental
support. The main musical feature, which may distinguish them from other
unaccompanied songs of the canteflamenco n this collection, is the melodicmode. All siguirzyasare performed in the e-mode. Many show, however, a
frequent alteration of "g" to "gsharp" and the use of the augmented second
f_.gsharp",, as a melodic step.The modal qualities of the siguiriyaand the ascribed effect of deeply felt
sorrow are also characteristics of the saetapor siguiriya,but not its only features.The formal construction is common to all the saetas analyzed and typicalfor them, as is shown in the discussion of saeta D3. The lyrics of this saetaconsist of five basically octo-syllabic1 lines and follow the rhyming patternabcbc.
Con sudor frfo y descarzocaminaba mi Jesiu.La fuerza le va fartando
por no poer con la cruz,
yun hombe bueno le va
ayudando.12Two textual repetitions occur during the performance. At the beginningof the saeta the initial words of the first line, "con sudor frfo,"are sung twice,and at the end the entire first and second lines are repeated. The whole lyricalarrangement can be seen in Musical Example 1, which displays the musicalstructure of the saeta in a paradigm that contains four rows, labeled I, II,III and IV, and four columns, labeled a, b, c and d. The music displayedin each row forms the syntactical unit of a period. All the musical phrasesthat make up a period are arranged vertically in such a way that similar
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106 / 1998 YEARBOOK FOR TRADITIONAL MUSIC
phrases are contained in the same column. Each phrase can be named byits coordinates: the number of the row and the letter of the column. For
instance period "I" consists of the phrases Ia and Id, while column "a"contains the phrases Ia, IIa and IVa.
The first of the four periods that are shown in Musical Example 1 is the
shortest one. It contains two phrases: Ia, a quejo,13 which is a melisma on
the syllable "ay," and Id, a closing phrase, which carries the first text line.
As mentioned before, the first words of this line are repeated. After this
repetition an elaborate melisma follows. This melisma is concluded by a
recitative-like repeat of the final note "e" on the last words of the text line
"y descarzo." The next three periods are considerably longer than period
I. With the exception of period III, all periods start with a quejfo,and allcontain three musical phrases belonging to the columns b, c and d. The
phrases b are combined with the first half of a text line, and the phrasesc with the second half; both phrases end with an extensive flourish. Phrase
d contains a complete text line, the middle syllables of which are sung
melismatically.Some interesting details about the successive columns may be noted. In
the first column, containing the quejzos,he melodic complexity of the phrasesincreases downwards. In phrase Ia, the melodic movement circles around
the basic tone "e." In phrase IIa, the melodic kernel is enlarged to the third
"e-g." Finally, in phrase IVa, a special emphasis is given to the fourth degreeof the scale "a" by raising the third degree "g" to "gsharp." The phrasescontained in column b show an increase of melodic complexity similar to
column a. Each of them is combined with the first four or five syllables of
a text line; the musical setting is mainly syllabic. An extensive melisma onlystarts with the vowel of the last syllable; it ends on the final "e." The melisma
belonging to IIIb and IVb is followed by a slightly varied repeat, which againcloses on the final note "e."
A main common feature of the phrases contained in column c is the initial
melodicstep
"d-e,"by
which the vowel of the melisma,sung
in theprecedingcolumn b, is prolonged. It is only after this short initial movement that the
second half of the text line, which again ends with a melisma on the final
syllable, is sung. This melisma is shorter than the one in column b; it is
concluded with the conspicuous closing formula: ". .. e-f-e-d-e." The phrases
arranged in column d show a melodic movement that is more quiet and more
restricted than the ones in the preceding columns. They end with a recitative-
like recurrence of the modal tonic "e," on which the final syllables of the
text line are sung (compare descarzo,artando, ayudando,mi Jest), and theycontain a complete text line. In the course of the phrase some melismatic
activities occur.On the basis of these observations, the structure of Saeta D3 is summarized
in Diagram 1. This pattern will be referred to as the standard pattern for
the saetapor siguiriya; it applies by and large to all the saetaspor siguiriya of
the Deval collection. The reader may check this by consulting Appendix II.It will also be referred to as standard pattern I to distinguish it from standard
patterns of other types of saetas that are developed in this article.
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KRAMER/PLENCKERS
Mus.ex.I SaetaporsiguirivaD3.
SAETAFLAMENCA / 107
a."'
" Sb.i. J J Ja.2JJjjJ ,: :-:-- .
A-yi A - yi_
A - yi Ayaya- i_ A - yi_ i ca-mi - na- ba
I.4 fM Jjporno por--- e e .
A - yi A-yay- i A - yi y conudor fio- o
Mus.ex. 2. SaetaporcarceleraD20.
a. b.I. 4l ,,% J ' i --A - ya- ya!
porquelan-tra-da a
miv._ .M- (. ,~.. 3.jJ._ ' '
quecl Christodel c
Mus.ex. 3. Saetapormartinete 21.a. b.
.. J^1 - T
?=-
r
jA- ya ya ya!
m.,j'JiJ, - , hJ-
f .quea tuhijolo_ o
Iv. .hJ.'j { j ,- pJ _-_-in,. pp,._--E-,sin impor-tar-lea e
Mus.ex.4. Saetapormartinete l.
,. .~ 7r:.' ' . .iayaya ya! iYayya-! a
IBI, ' , rJ3S1- :r r TnJ fw> 1'^1
A-ma-ga Amarg a
"'I. ~'"~'"-J i r -.i' -,
'" -
o mismoque e
vJW
-d J t j.- r J j
-rf
pcar_l-r Lrs Llionrndo cus__
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108 / 1998 YEARBOOK FOR TRADITIONAL MUSIC
Mus.ex 1.(ontinued)C.
1}I.)
(II.)
d.
_iJ -LJJ ? T;J1 JJJJ JN)J .Conudorfi - o, consudorfri - o o y descar - zo
La fuer - za_ a leva_fa rta - do
flinafflTOJ^pj^^^^roi^^p;Rt~RMf-
------e_ conla auz un hom be bue no_ e va a yu n do
(IV.) ff fJ
o_ y des - car - zo ca - mi - na- ba mi Jew
Mu. ex. 2. (ontinued)c. d.
(1.) 4
(u) 4
,-J j.. J _e iL muy estrechs ayaya ys
(IV.) J - -_Dl GranPo der a yyyaya
Mu. ex 3. (continued)C. d.
(L) 4 ----^ .
(I.) 4
(m.) 4 )j J JJ JBJ rpJ i J J1o- d perdon a - ya i - a
-VJ) ;JJ J_y en u do lor a tutambid
Mg. ex. 4. (ontinued)C.
I.a)n4
u na hiqudl l
,.-(IV.)a I -_vil La_ gevil is
t --
-
L
a- miJe - sw
^ . ...
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KRAMER/PLENCKERS
Mus ex. 2. (continued)
e. ,(I
(11
(II )
(IV)
(I.)
(II)
(In.)
(IV.)
(V.)
(.)
(11)
(IV)
SAETAFLAMENCA / 109
[46 P.. j;JJ- 6- J PTJ7 J -J..
a Tencui-da - o, ca- pa-taz
t$P J;j P r ? --Man- da con mu- cho cui- dao
i> PP& ,: pp T wjrPcDr-^cJrr FL; Lr 'Jc
"n .r tfl D .r
Mus ex. 3. (continued)e.
a
a Ma-re mi - ra si e-res bue na
^ rT rJhr; fl ..y los que lo conde - na - ron
l4 ^ 1p p p - r--tu tambien le has per-do-na - o
X rcrrr rcr rrcrrrr rrryc:J rr ;: JJJ..r \o ._._. ___ __ .. _ _ _ _
Mus ex. 4. (continued)
d. e.
ya ya ya
Jy de con-so- lar
, ~r"Z,r,Jz,~ 3] 3 iJ.f -.-.h.. ;^ -a-- i que no sa-bes a dondevas
a- ...,JJ., . .T A ppprIr.rr rrsf aren rrrrdrrrysrr. .m.. so-li a en su so ledad*rrj2j ^?r--mi
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110/ 1998 YEARBOOK FOR TRADITIONAL MUSIC
a b c d
melody: I "e" "e... /e/"
lyrics: iAy! 1" line
melody: II "-- ....e-
"g...e " -c "- ....e..e're .d_e . -.. g... /e/"
lyrics: iAy! 2 ndd ine 3ine,2 lineline
melody: Il - g ... c" "d-c" .-> g ... er e'"-s g.../e/"
lyrics:- 4h line,,., 4thline,d 5'h line
melody: IV "-a ...e" "- a ... e" "Id-c" "- g... e r'ed-e "- g ... /e/"
lyrics: iAy! 1" line,, I' line,, 2" line
Diagram 1: Pattern of the saeta D3. The standardpatternfor the saetaporsiguiriya (Standard
patternI).Most of the
symbolsused here are
self-explanatory.--" standsfor
anyshortmelodic
movement to a specific note. The final tone repeat in column d is indicated as "/e/".
Some minor variations of this pattern regularly occur. The most importantof these are the following:* Column a: the first quejio(phrase Ia) is often made up of a number of
separate melismas of increasing length.* Column b: the initial melodic step "d-e," which occurs regularly at the
beginning of the musical phrases IIc, IIIc and IVc, is also at the beginningof phrase IIb. See Appendix II, saetas D2, D3, D4, D6, D8, D9, Dll, D23
and D25.* Column b: at the end of the phrases, an unexpected alteration of the third
degree to "gsharp" or ,ghalfsharp"may occur. This happens in the saetas D2,
D5, D10, Dll, D23, D24 and D25; it can be heard on the recordings, but
it is not shown in Appendix II.* Column c: the initial melodic step "d-e" may be omitted in one or more
of the phrases of this column. See Appendix II, D4, D6, D7, D12, D13,and D15.
* Column c: between the initial movement "d-e" and the start of the lyrics,a melisma may be interpolated. See Appendix II, phrase IIIc in the saetas
D4, D6, D7, D8 and D9, and phrase IVc in D8 and D9.* Column d: the repeat of the initial words of the first text line may be
omitted. See Appendix II, D4, D6, D7, D8, D13 and D14.
Apart from these rather small variations, the standard pattern for the saeta
por siguiriyashows a flexibility in its form that is related to the length of the
lyrics and the freedom of the performer to repeat certain text lines.Saetas with lyrics made up of five lines may be divided into three groups.
See Diagram 2.
D3, D4, D6, D7, D12, D14: D10: D19, D22:
a h-c d a b-c d a b-c dI jay! - line 1 ;ay! - line 1 ay! - line 1II ;ay! line 2 line 3 ;ay! line 2 line 3 ay! line 2 line I111 - line 4 line 5 - line 4 line 5- line 3 line 4IV ;ay! line I line 2 ay! line 4 line 5 ;ay! line 4 line 5
Diagram 2: Different layout of lyrics in saetas with five lines.
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SAETA FLAMENCA / 111
The first group shows the arrangement of text lines according to the
standardpattern.
Thisgroup
contains the saetas D3, D4, D5, D6, D7, D12
and D14. The second group only consists of saeta D10. Here the fourth and
the fifth text lines are repeated at the end of the saeta instead of lines 1 and
2. The third group contains the saetas D19 and D22. They show the same
final lyric repetition as D10, but unlike D10, there is a repetition of the first
text line after the second.
The saetas with four-line lyrics may be adjusted to the standard patternin three different ways, as Diagram 3 shows:* by repeating the first and the second lines at the end of the saeta (D15,
D23 and D24);
* by deleting period II and repeating only the first line at the end of thesaeta (D13);
* by repeating the first three lines at the end of the saeta (D25).It may be noted that in the saetas of the first and the last group there
is also an internal repeat of the third text line.
D15, D23, D24: D13 D25:
a b-c d a b-c d a b-c d
I ay! - I" line iay! - I" line iay! I-" line
II ;ai! 2d line 3rdline - - - ay! 2"d ine 3rdline
I - 3rdline 4h line - 2d line 3rd line - 3rdline 4"h line
IV ;ay! I" line 2"d ine jay! 4th line 1st line iay! 1",2"d ine 3'd line
Diagram 3: Different layout of lyrics in saetas with four lines.
There is only one saeta with a three-line verse in Deval's collection: saeta
D2. Diagram 4 shows that its layout is adapted to the five-line pattern, with
period III deleted.
Saeta D2:
a b-c d
I iay! - I" lineII iay! 2nd ine 3rdline
I - - -
IV lay! I" line 2nd ine
Diagram 4: The layout of lyrics in a saeta with three lines.
As far as the saetas with six or more text lines are concerned, the adaptationof the lyrics to the standard pattern here means that two lines are combinedinto one, in one of the following ways:
D8: D9: D 1:a h-c d a b-c d a b-c d
I jay! - line nay! - 1",2" line iv! - I", 2"' line
II iav! 2ndline 3d line jay! 3'" line 4h, 5'h line ;ay! 3d line 4"hline
ill - 4"' line 5h, 6"h line - 6'h line 7th line - 5'h line 6"' line
IV ay! I" line 2"d ine jay! 2"d,1lM, "d ine 3rd ine - - -
Diagram 5: The layout of lyrics in saetas with six or more lines.
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The saeta por martinete and the saeta por carceleraThe martinete nd the carceleraelong, just like the siguiriya,to the cantejondo
or cantegrande.These are performed without any instrumental accompaniment(a palo seco), as said before. The origin of the word martinete s unknown, butit has induced many scholars to formulate all kinds of hypotheses (see Criville
1983:281). There is much less disagreement about the origin of the wordcarcelera. t is generally accepted that this term originally referred to themusical utterance of a prisoner complaining about his lost freedom. The
melody of both the martineteand the carceleras characterized by the c-mode,especially its plagal form. At least this may be gathered from the recordingsof martinetesand carcelerashat are contained in the collection "The History
of Cante Flamenco" (Appendix 1[9]).14The Deval collection (Appendix I, [6]) contains only two saetaspor martinete
(D17a,b and D21) and three saetasporcarcelera(DI, D18 and D20). The three
saetasporcarceleralearly resemble each other structurally, while the two saeta
por martinetediffer from each other. Curiously, one of these, D21, is rathersimilar to the saetaspor carcelera.The question is whether a standard patterncan be found for the saetapormartinete nd the saetaporcarcelera, s it has beenfor saetapor siguiriya.In order to answer this question, we analyzed a numberof additional commercial recordings (Appendix I), which resulted in threeconclusions. First, each singer sticks to a rather fixed way of performing a
saeta and allows only minor variations. Second, in the saetapor carcelera ndthe saetapor martinete,the performer follows a fixed schedule. Third, sucha schedule is generally identical for both the saetapor carcelera nd the saeta
por martinete.Only one performer, Paquita Gomez, makes a clear structural
distinction between these two types, which we will show later on.In order to explain how the three conclusions mentioned above have been
reached, eight saeta performances will be discussed: four saetaspor carceleraand four saetaspormartinete.The saetas will be examined in two groups. First,the structures of the saetas D20, D21, Al and A2 will be explored in orderto develop a general pattern of the saeta
porcarcelera/martinete.Next, the
numbers Dl, D17, D18 and A3 will be discussed to get an insight into the
variability of the pattern.As far as the saetas of the first group are concerned, each of them contains
lyrics consisting of five lines. Their paradigms (Musical Examples 2, 3, 4
and 5) show a setup of five columns (named a, b, c, d and e) and four
rows/periods (labeled I, II, III and IV). Period I and II of each paradigmconsists of a few phrases taken from two or three different columns, contraryto the periods III and IV, which are made up of phrases out of all theconsecutive columns.
First the periods III and IV of the four saetas will be examined, becausetheir structural, as well as their melodical, resemblance is most obvious. Thenthe more dissimilar periods I and II will be discussed. In the phrases IIIaand IVa, the same melodic line is followed: it starts with a leap "c-f" andthen rises further to "a," on which the line ends. At the beginning of the
phrases IIIb and IVb, the "a" or its neighboring note "bflat" are empha-sized; then the melodic movement may rise further, but eventually it descends
stepwise to "f," the basic note of the mode.15 The following phrases IIIc andIVc start in the same way as IIIa and IVa with the ascending leap "c-f,"
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SAETAFLAMENCA / 113
but then, after a tone repeat on "f' the melody takes another course. A
melisma,in which "c" or "d" is the
highest note,follows. This melisma ends
on the note "g" preceded by a prolongation of its upper neighboring note.The latter is stressed by a clear agogic accent and generally alternated byan ornamenting "blat." Moreover, in the saetas A2, D20 and D21, this
upper neighboring note receives a tonic accent, as it is changed to "aflat"
or "ahaf-flat."The phrases IIId and IVd show the following features: the
initial step "f-g," the emphasis on "g" by an ornamental turn, or by repetitionof the tone and the stepwise descent to "f," sometimes followed by a further
stepwise descent to "c." All the phrases IIIe and IVe end with a final clause,in which the basic note of the mode "f" is reached from its upper neighboring
note "g." This final descending step may be prolonged into movements like"g-a-g-f," "g-f-e-f' or "g-f-e-g-f." Phrase IVe contains an elaborate melisma,in which the melodic line reaches its culmination. In saeta A2 the phraseIVe is divided into two sub-phrases forming a relationship of antecedent and
consequent. In both sub-phrases the phrase start "c-f" can be observed.
To conclude the discussion on periods III and IV of the saetas D20,D21, Al and A2, their common structural features may be summarized in
Diagram 6 as follows:
a b c d eII: c-L.a a/bn"...a-g-f c-/f/.. g-a_"2)-g -/g/...f(-e-d-c) ?... g-(...)-f
lyrics no lyrics lyrics no lyrics lyrics
IV: c-f.a a/bn"...a-g-f c-/f/... g-a("')-g f-/g/... f-e-d-c (c-/f/)...-g-(...)-flyrics no lyrics lyrics no lyrics lyrics
Diagram 6: The composition of periods III and IV of the saetas D20, D21, Al and A2. NB.
The indication "no lyrics" means that the last vowel of the preceding lyrics is prolonged.
Now, an attempt will be made to include in this diagram the compositionof the periods I and II. The four Musical Examples 2, 3, 4 and 5 show that
in each saeta, period I contains a quejioand the text is only introduced in
period II. Three out of the four examples (Musical Examples 2, 3 and 5)demonstrate that period I consists of two phrases (a+e); only Musical
Example 4 depicts a first period made up of three phrases (a+b+e). In this
saeta, the middle phrase of the first period could have been placed under
column d, as its ending "f-e-d-c" is the same as the one of phrase IVd in
all saetas. However, column b has been chosen because in the performance
of saeta Al, there is no pause between phrase Ia and Ib. The result of thischoice is that in a more generalized pattern, column b may contain phraseswith a "short" ending on "f' as well as similar phrases with a prolongedending "f-e-d-c." These endings will be summarized in one notation: "f-(e-d-c)."
Period II of the four Musical Examples illustrates two different ways of
composition. In Musical Examples 4 and 5 of the saetas Al and A2, periodII consists of three phrases (a+ b +e). For saeta A2, the label "b" of the middle
phrase of period II is now justified, as its ending fits the notation "f-(e-d-c)"
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in the same way as phrase Ib of saeta Al. Period II of saeta D20 and D21
(Musical Examples 2 and 3) is much simpler than the corresponding periodof the saetas Al and A2 (Musical Examples 4 and 5). It is made up of justone phrase and is labeled "e" because of its closing character.
On the basis of the preceding discussion, the composition of the four
analyzed saetas may be summarized in two different diagrams. Diagram 7
applies to the saetas Al and A2 (both saetaspor martinete)and Diagram 8 to
D20 (carcelera) nd D21 (martinete).The discussion of the next group of foursaetas will show that the pattern of Diagram 7 is the most common one.Therefore it will be referred to, from now on, as the standard pattern of
the saetaporcarcelerand the saetapormartinete r, in short, the standard pattern
II.
a b c d ec-f...a a...a-g-f(-e-d-c) c-/f/.. .g-a"'-g f-/g/...f(-e-d-c) (c-/f/) ... g-(..)-f
I quejio., () ? qucjio,,,
11 1" line,,r,, . . 1 line,,dIll 2"d inc,
- 2" line,,, - 32" ine
IV 4thline,,,,r-
4h line,d - 5"h ine
Diagram 7: Standard pattern II, the standard pattern of the saetapor carcelera/martinete,based
on the saetas Al and A2. In this and the following diagrams, the occurrence of a melisma in
one of the columns is marked with a tilde (~).
a b c d ec-f...a a/b"'...a-g-f c-/f/... g-a"'-g f-/g/...f(-e-d-c) ...g-(...)-f
I quejfo,,. . . quejfo,.d11 . . . . 1' line
111 2nd ine,,, - 2ndline,,, 3r line
IV 4h line,,,, 4' linee,,, 5"hine
Diagram 8: A less common pattern for the saetapor carcelera/martinete,based on the saetas D20
and D21.
In order to get a better insight into the variability of standard pattern II
in musical practice, we will now discuss the second group of four saetas.Three of them (Dl, D18 and A3) fit in the pattern rather well. The last one,D17, is clearly different. It may be called a double saeta, as it contains two
different saeta poems instead of one.
Beginning with saeta D18 (Musical Example 6), we notice two interestingdetails. The first concerns the number of periods, which is five instead of
four. The extra period is a result of the way in which the second text lineis set to music, that is to say, in the same way as the first line. The result
is shown in Diagram 9.
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KRAMER/PLENCKERS SAETA FLAMENCA / 115
Mus.ex.5. SaetapormarineteA2.a. b.
I.Ayay ya ya!
-jAyayaya- ya!
A
n.rt^ Jjr^ ? --f-J nm,psmrmny .,Mi se ricor - di-a a
rni.m jJLJ j Y'-- [r =4 rz rr. r ^ya tu pue - blo o
Iv.tp JJ- i --j ^ jnnJrSrp [rr prr r nnrimr -
ya tu Ma - dre e_
Mus.ex.6. Saetaporcarcelera 18.a. b.
iAyai-ay! iYayay-hay! jYayayahay! i
ii. + 22DJJI j)^JJ ;.-J r Jr;rS tJ ZJj J;^mCuidaito__ cuidaito o
nI.tL J' lJ^ - - -C rL ptN rJ rJ JJmJ --Despacito despacito_ o-
iv.l,j S.n] i ...Jj , -- mJrrJ:mr G[[rr^3 22fy?J ;-queenlatierra- queen a tierra a
v.!$ p J)J J :Jp rZrJ rJ] [rrq1^[f nJ^ J th---JrJB^J --quees mi Virgen_ e
Mus.ex. 7. Saetaporcarcelera 1.A~a. b.
Ya- ya_ yi-a a
n|.,-A r J 3 JJ J rvmprlrrC Crn r'E--...El queno o - re e
I11.14 ^ ^j,> >$ Jr t j J r a m ;,r
;rJrr ,rrc
r J1J: *x:,no tie-ne sangre e__-
Mus.ex.8. Saetaporcarcelera 3.X-x. ab.
iAyayai - a i!
EnelCal vario, en elCal vario
; _>...r,,- d.-j-. J -- r"z"'rJ-' --o se o - i a El eco de
Me en cuentro so
-1-_:
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Mus e 5. (continued)c. d.
(.) I
(II) [{
<"1'^JJ JZ=J Jrserzg J pIJJJ. ? JJJjt J)T Jo_ el perd6n a- yaya
y en sudo lor a - yaya
Mus. ex. 6. (continued)C. d.
(I)LiA
(In.) 4
ov14 DDJj3jfj jjJXjnr nllj.; ? nJ^J' fJ f J^ J*J?^
hay una estrell quees mi Vrgen
(V) 4 jTj ^J ^ns JTonr nJ1Jn)J j J JJr J]^ tJJ xJ^e delaPaz Vamos alcielo
Mus.ex. 7. (oontinued)c. d.
.)
(I.) !
on.)^-^ ^^J^r p-r pl-mm tJr JU2j jr j jJ*j?an as ve-nas a - yayayaya hi
Mus.ex. . (oontinued)C. d
(I.)
aI.)14
(in.,)^p JPJ-- -
. JrJJ .JT-1J r.hr J J
e un mo ri bu - do - yaya
ov)io m2 rmu da- - A Jlo ni el mnu - do_ - va
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KRAMER/PLENCKERS SAETA FLAMENCA / 117
Mus. ex 5. (continued)e.
(I.) , Jf), ^ J .TT 3r
^ ta_ siem-pr vas dan do
en,) i^ PtN J J J,1r
? j J Jsie-te pa-la - bras que- re - za
(IV) bJIBPPJXV r PrrPlrorrr gcr ^ ^^^frCJa,Madre mi-a de la_ Ca- be-za
(v) &D j> j r p)t) J j.....1Madre__mi- a de la Ca- be- za
Mus. ex. 6 (continued)e.
ya_ ya ya i
o_ cos-ta - le- ros
(III.)A
- ^ J -J J (o ca- pa-taz
(IV) fp7i7i F j J i
e_- de la Paz
(V.)dD D prlrr rrlr3rr r_rz_r,J. .J~ 11o_ conel-la; va-mos al cielo conel-la
Mus. ex 7 (ontinued)e.
ya_ ya
(II.),
l-,l~It ,t
Z~.. I
e al mi- rar-te
verte mi-raparcielo en el ros-tro tume-le-na _______---------
Mus.ex 8. (continued)
e.
(II.) t
que en su lamen - to de ci - a
con mi cruz y mi a go ni a
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a b c d ec-f...a a/b"'...a-g-f-e-d-c c-/f/...g-a-(...)-g f-/g/...f-e-d-c c-f/(...g-(..)-f
I qluefo, --t-
quejfo,d11 I" l 1ine,.**" !inend111 2" line,,,,,
- 2nd linendIV 3 irdne line,d 4thline,,, 4"' line,,,eV 4'h line,t 4'hl in een 5th l ine,,, 5'hl ined,'h line
Diagram 9: The construction of saeta D18.
The second detail concerns the alternation of musical phrases with andwithout words in the periods III and IV. The standard alternation is displayedin
Diagram7. In the
performance,shown in
Diagram 9,the standard
alternation is not observed, since the fourth and fifth text lines already startat phrases IVd and Vd. Apart from these two details, Diagram 9 is rathersimilar to the standard pattern of Diagram 7.
Saeta D1, reproduced as Musical Example 7, deserves some attentionbecause of the way in which the musical structure is adapted to the four-line
lyrics. This adaptation simply means that the last period of the standard
pattern II (see Diagram 7) is skipped, as can be seen in Diagram 10.
a b c d ec-f...a
a-bn"...a-g-f-e-d-cc-/f/...g-
a"-g f-/g/...f-e-d-c
c-/f...g-(...)-f
I quejfo,,,,, .qIlejfoedII 1V inc,,.
- 1'" line,nd
III 2 ndline,,,, . 2nd line,nd 3rd, 4th line
Diagram 10: The construction of saeta D1.
Saeta A3, just like the preceding one, consists of three instead of four
periods. It is reproduced in Musical Example 8. The last two periods are
performed according to standard pattern II, as can be seen when the
Diagrams7 and 11are
compared. However,the
preceding period,indicated
as X in Diagram 11, is different. The modal character of the melody in this
part is quite different from the one in the following periods. It seems as if
the singer initially had the e-mode based on "f" in mind, but while singingdecided to change to the c-mode, though maintaining the same tonic.
X a b c d e
{nf
{en", f, gn"-an"}
{d, e, f, g(n",, c-/f/...a a...a-g-f c-/f/...-a-g f-/g/...f(-e-d-c) f...g-(...)-f
I quejfo + I" line 2ndline,,,,, 2nd line,nd 3rd line
II . 4"h ine,,,,-
4thline nd 5'h line
Diagram 11: The construction of saeta A3.
In comparing this recording of Paquita G6mez with some of her other
recordings, it seems that she generally performs the saetapor carceleran the
way displayed in Diagram 11, and she reserves the standard pattern II for
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SAETA FLAMENCA / 119
the saetapor martinete(see A2, Musical Example 5). Probably this is a rather
personal attempt to restore or maintain the musical difference between a
saetaporcarcelerand a saetapormartinete.None of the recordings of other singers
(saeteros)16xamined have shown a similar distinction between the two styles.The last saeta of the carcelera/martineteroup to be discussed here is D17,
which shows a very peculiar structure. The lyrics consist of two stanzas. The
standard pattern of the saetapor carcelera/martineteeems hardly applicable
here, as the melismatic phrases of the columns b and d of this pattern are
clearly lacking.The structure of this double saeta will be explained by discussing the
consecutive columns displayed in Musical Example 9.
Column a.The phrases contained in this column show three different ways of
beginning:1. the common start: "c-/f/... a"; it occurs at phrase Va and Xa (bothcontaining the last line of a stanza); it is the regular start of the "a" phrasesof standard pattern II;2. the same start but ending on "blat" instead of "a"; it occurs at phraseIIa and IVa (first and third line of the first stanza);3. a different start but ending just as the preceding one on "bfla," it occursat the
phrases Via, VIlaand IXa
(thefirst three lines of the
second stanza).17Column bc.
There are no phrases in D17 that fit into the pattern "a/bfa. . . f(-e-d-c)" or "c-f... g-a(a)-g," i.e., the melodic patterns of the phrases b or c ofthe standard pattern II. Instead, there are five phrases that can be regardedas a combination of the first half of pattern b and the second half of patternc. Musical Example 9 shows that these phrases are put together in one columnlabeled "bc."
Column d'.
Common to a number of phrases of saeta D17 is the ending on "g." Oneof these shows a certain affinity to the melodic pattern: "f-/g/ . . . f(-e-d-c)"(which is the pattern of the phrases contained in column d of standard patternII), insofar as it is identical to the beginning of that pattern. In order to
express this affinity, the column containing the "g"ending phrases is labeledd'.
Column e.
This column contains the seven phrases that end on the tonic "f." Thefinal sections of Ve and Xe, concluding the first and second stanzas,
respectively, differ from the other ones because of their recitative-like repeaton the tonic "f" ("tan larga"; "espinas"). The quejot's put in this columnas well because of its conclusive character and because it lacks the expectedformula "c-f ... a," with which the quej'o of standard pattern II starts.
It may be clear from this discussion that Saeta D17 shows a lot of melodicdetails that occur in the saetaspor carcelera nd saetaspor martinetediscussedbefore. Therefore, this saeta may be regarded as part of the cantejondo, asis expressed by the qualification "pormartinete" n Deval's commentary. The
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Mus.ex. 9. Saetapormartinete 17.a. b/c.
A En el Huer-to los O - i - vos
m. %i n- rnnc > x so a pren - der
IV.|ibbbbp^j^ , n ^. mn jno] j -nnJon ju- go de a-cei tu na a- mar - ga
v. I; JJ . . nJ' JT3nj JJ _tu - vi- ste tu que be be
VI. i+ p p p o-A tu Cal- va - no
vii. i : p p=
mo- rao de ii - rio
VII. I
co - ro - nai - to
x ig;2 ^J . s-- nn>;t a=con cor-de- les - a - mar - ra o
Mus. ex 9. (continued)
d'. e.
.() l JI,$ j.. ?liri tiri - a tii - tin tiri- tii - a
(II );|dF * J ,
^
a tS te lie- va-ron
(III.)
(v.,!< n >>l j ntui tu-vis-te que be- be_
(v.) 1< h.. ,.jhJj J3j .,.aquel - la no - che tan lar-ga
(VI.)4 Jr cn
a-o ca - mi- nas
(vn.) 4 J^HJDJo lon - dca-o
(VHI.) Jtb J) 5 I% J J j ia tuCalva-ri- o
l4 pp:p
---
IJr JjJ
o_ ca mi - nas
con cor - de - les a- mar- ra - o__. ' I , , , ,
14 aaf) JrJa j~jl Jjp . II
(IX.)
(X)
espinas
. i
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SAETA FLAMENCA / 121
layout of the saeta, however, deviates considerably from the standard patternfor the saeta
porcarcelera/martinete.This deviation cannot be explained
satisfactorily. An indication for it may be found in Deval's commentary onthis saeta, where he speaks of a "saetaabeled pormartinete ut clearly marked
by the archaic characteristics of Arcos.'8 At the end of this article, after
reviewing the saeta vieja, this problem will be discussed in more detail.
The saeta por siguiriya y cambio por martinete or por carcelera
These terms are used in the saeta practice to indicate performances in
which a saetapor siguiriya is immediately followed by a saetapor carcelera r
a saetapor martinete.The change from the first to the second style is called
"cambio."The collection of Deval contains one such performance (AppendixI, [6], D5). It is labeled saetapor siguirya y cambiopor carcelera;ts lyrics aremade up of two four-line stanzas. In order to answer the question whether
the performance of a cambio saeta follows a fixed procedure, a number ofadditional saetas have been investigated. Two of these will be discussed here:
a performance of a saetaporsiguiriyacambiopormartinete(Appendix I, [1], A4)
sung by Rufo, and a performance by Antonio Canillas (Appendix I, [7], A5).No specification has been given in the accompanying documentation of the
cassette whether the saeta sung by Canillas is a saeta cambiopor martineteor
a saeta cambiopor carcelera.
The siguiriya part of the saetas examined is performed according to thestandard pattern of the siguiriya. Therefore no further comment is needed
on that part and only the second part of the cambiosaetaswill be discussed.
This part shows severalmelodic characteristics of the saetaporcarcelera/martinete,but it fits poorly into standard pattern II. The cambiosaetas show a changeof mode from the e-mode to the f-mode; however, there is no change of thetonic.
In saeta D5, the cambio part consists of six phrases, as can be seen in
Musical Example 10. Each of these phrases will be briefly discussed.
Phrase 1 (first line of the stanza) moves around "e," embedded in the
hexachord "sharp-dsharp-e-fsharp-gsharp-a of the c-mode.
Mus.ex. 10. Thesecondpart f the saeta iguiriya cambioporcarcelera 5
.1\$$$a sg .d>- nsrtm..J ^las go-Ion dri - nas_ quia - ron. As..
[y^^nt'$. r r IJr ryr hrT ^^^ 22OZhJ j3y lases - pi-nas a_ JO-s
\$$$$SS P^^DS TjTS^l bJJJJ J^|J PJ ^t,y no pu-die-ron descla - var lo
y consu pl-co_ de 1acluz,
u
y con su pi- co de la cuz.
2.
3.
4.
5.
6.
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Phrase 2 (second line of the stanzas) starts with an ascent "e-gsharp-a-b"
and ends, after an elaborate melisma, with the melodic figure "fharp-gnatural-
fpharp," a transposition of the characteristic final formula of phrase c instandard pattern II.
Phrase 3 (third line of the stanza) starts with an ascending fourth "b-/e/,"the characteristic start of phrase a and c in standard pattern II. This ascentis followed by a melisma that ends with the stepwise movement "bharP-e-
dsharp-csharp-b," the final formula of the phrases b and d in standard patternII.
Phrase 4 (fourth line of the stanza) starts again with the ascending fourth
"b-/e/," but this time it is not lengthened by a melisma; the phrase ends on
the reciting tone "e."Phrase 5 may be seen as a varied repeat of phrase 3 without lyrics, in which
the initial ascent "b-e" is skipped.Phrase 6 may be seen structurally as a repeat of phrase 4, lengthened by
a concluding melisma. Melodically, it is rather similar to the final phrasesof the saetas A2, D18, and D1 (see Musical Examples 5, 6 and 7).
These six phrases may be summarized in the following diagram. Thenumbers in the upper row of this pattern indicate the musical phrases. Thesecond and third rows show the melodic patterns of these phrases and theorder of the text lines.
Finally,the fourth row refers to the columns of the
standard pattern for the saetapor carcelera/martinete.
1 2 3 4 5 6
Phrase: "e... e" "e---b...fl"P'-g-fr""" "h-/e/...e-dslL"-c"hA'P-b""b-/e/...e"" "... e-d'%"'"-c"'LP-b"b-/e/...e"
,yrics: 1 line 2"dline 3' line 4" line 4' line
Stp.ll: new Icl Ib/di |el Ib/dl lel
Stp= Standard pattern
Diagram 12: The construction of the cambiopart of saeta D5.
The second cambiosaeta to be discussed is saeta A4 (Musical Example 11)performed by Rufo. Again, only the martinetepart of the saeta will be
examined, since the siguiriyapart is performed according to standard patternI. The lyrics consist of four lines, each one corresponding with one musical
phrase. As in saeta D5, the melodic line of the first phrase circles around
"e," the tonic of a transposed c-mode. The second phrase is somewhatdifferent from the corresponding phrase of saeta D5: it lacks the melodic
Mus. ex. 11. The secondpart f thesaeta iguoriyacambio ormartinete 4
iAy, ay, ay! No se que mis va - lio mi o
I^t' P p n Jjr, j. j?j,t Jj' j^iTj m..que no lo puedo re- me-diar
quan-do te mi - ro la ca - ra
yoJmebhrtoe lpllr flT
orar.o meharto de llorar.
1.
2.
3.
4.
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SAETA FLAMENCA / 123
I.
2.
3.
4.
Mus. ex. 12. Thesecondpart f the saeta igumnay cambloporcarceleramartmete S.
,Ay-ay! Ro-sa-dasJ a-ma - nl_ las
En tu pe- cho se cla-vo
,^ ? , ,>isX $ #, p*,, 1 *1X, -, . -*,
--,s ,,>
, ^-;
: ?
y como tu dolor quise-te en sangre se
v conv - "ti..a, _ e
--' o
y con-yer- io
figure "fharp_gnaturalfharpp"he closing formula that is typical for the c-phrasesof standard pattern II. The third and fourth phrases are rather similar to
those of D5, although they are provided with elaborate melismas. There are
no fifth and sixth phrases as in D5.
Finally, we turn to saeta A5 (Musical Example 12), which is performed
by Antonio Canillas. There is no indication in the documentation whether
this saeta is called saetapor siguiriyay cambiopor carcelera r por martinete.If
the cambiopart of this saeta is compared with the two other ones discussed
before, it appears to be much the same as saeta A4, although the end of
phrase 2 shows the melodic formula "fpharp_gnatural fharp"19 of saeta D5.It is now possible to design a standard pattern for the cambiopart of the
saetapor siguiriyay cambiopor carcelera/pormartinete.Such a pattern may be
regarded as a derivation from the standard pattern for the saetapor carcelera
or por martineteby application of the following transformations:* the quejioand the first text line are merged into one phrase;* the characteristic melodic turns in different phrases are linked togetherin one phrase;* the melismatic phrases are omitted.
By applying these transformations, the following diagram can be set up:
1 2 3 4
Melody: "e e"..e ".e-P//... rle" -g-.-'Lr, "b-/e/... e-d""'L-c''""'-bb. "b-/el/.. e"
Lyrics: quejio - 1" ine 2"dine 3rd ine 4" line
Stp.ll: new c b/d e
extension
Mel.: 5 6
Lyr: i "..e-d"'"'P-c'"rpb" "b-/e/... e"
Stp.ll: ! 4' line
b/d e
Stp. = Standard pattern
Diagram 13: Standard pattern III, the standard pattern of the second part of a saetapor siguiriya
y cambiopor carcelera/martinete.
This pattern will be referred to as standard pattern III. It does not seemto be much varied by the singers in their musical practice. The most importantvariation they perform is the doubling of the two final phrases. No cambio
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saetasare found with a second stanza containing more than four text lines,so the
implicationsof five-line
lyricsfor the musical structure of a cambio
saeta could not be studied.
The saeta flamenca and the saeta vieja: an analytical comparisonIn the beginning of this article we mentioned that in 1949, Larrea published
an extensive study on the saeta vieja based on material that he and otherscholars had collected and published.20 His data base consisted of forty-onesaetas. By analyzing and comparing these items, he came to the conclusion"that the typical saeta, as it has come down to us, consists of five phrases;its initial note is the first note of the scale and the melodic dominant andthe final note are the third; the
endingof the first
phraseis also on this third
note, while the ending of the second is on the fourth; the ending of the third
phrase is on the third and the ending of the fourth on the fourth; so thefirst two phrases are parallel to the last two" (Larrea 1949:116).21Musical
Example 13, taken from Valencina, shows a saeta that fits the descriptionof this "typical saeta" of Larrea.
However, this saeta shows a number of characteristics of the saetaviejathatLarrea does not mention in his conclusion. They can be noticed in the few
transcriptions that have been made accessible by scholars such as Pedrelland Schneider, and may be summarized as follows:
* The melodic line is based on the e-mode. No saeta viejas in other modescould be found in the available literature.* The successive phrases of the saetavieja are separated from each other byshort caesuras, with the exception of the last two phrases, which are linked
together by an enjambement.* The words are sung syllabically, although small ornaments, such as turnsand apoggiaturas, occur regularly.* As a rule there are five text lines, corresponding to the number of musical
phrases. If there are only four lines, as in the example above, then the thirdone is repeated, so the order of the text lines is 12334. This text line repeatmay be called functional, as it brings the number of text lines in order withthe number of musical phrases.22
Now the question arises whether the change of the saeta vieja to the saeta
flamencamust be understood as a simple replacement of one form by another,or as a more complicated process in which the first is remodeled into thesecond. This problem will be approached from a music-analytical viewpointby comparing a number of formal aspects of the two structures. The basic
assumption is that a family relationship is more probable, as the two struc-tures show more points in common. The first thing to point out is that the
Mus.ex. 13. Saetavieja,notated yValencina.
$14 p r r nd r r pDP-3- r--Mi-rad- o por a- hi vie - ne, el me-jor de los na- ci dos,
I4pr p B r r r r a p p p- a p'a - ta - do de pies y ma-nos, a- ta - do de pies y ma - nos
14 r tr p ppr-
i r 11y-elros- tro des-co-lo-ri - do.
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SAETA FLAMENCA / 125
saetaflamencashows a far greater variety of different structures than the saeta
vieja. It has been demonstrated above that in the flamenco tradition there
are at least three basic structures, referred to as standard patterns I, II and
III, and that each of these structures is connected to a specific modal patternor combination of patterns. The saeta vieja has only one standard form (ae
bf ae bf ae), although it also seems to be related to a specific modal pattern.
Secondly, the names that are used to indicate the different styles of the
saeta, such as por siguiriya, por carcelera, tc., are taken from the cante ondoand they refer to specific forms of it. This means that the performers considerthese styles to be a part of the flamenco tradition. The term saeta vieja is of
a quite different class. Probably it does not originate from any musical practice
but has been introduced by historians and musicologists. Thirdly, the saetavieja acks two major elements of the saetaflamenca:he quejzo nd the melismas.
It may be objected that in the process of the development these elements
could have been added to the saeta, as both the saeta vieja and the saetaporsiguiriyahave the same modal structure. Nevertheless, this does not explainhow the other modal forms of the saetaflamenca came into existence.
Finally, even the idea of a transformation of the saeta vieja into a saetapor
siguiriyais rather problematic. It supposes not only the addition of elements
such as the quejioand the melismas, but also a rather radical change of the
syntactic layout. Diagram 14 displays this hypothetical transformation process
in two steps. The first step shows the supposed addition of the quejioandthe extension of a final phrase containing a textual repeat. The second stepincludes the subdivision into sub-phrases of the even phrases of the originalsaeta vieja
- those of the left-hand column -enlarged with melismas and
provided with different phrase endings.
2" line 3d ine line i nine [ 2a line 2"| line 1 line
|c^ "ce.{j^'i Li411"'- q!';
\-----~4'" l-mc-ni eII..f'- e
1i n..e" " .../e/"c-e .iee line ,,,5' h line 4"I line line
7Ay! "c ine |_ 2nd ine | |1^e I line 2 line
I|z?...c"| 'Ic-c .. | |"c-e ..e"| | "a-e '||"- -c'd-c ".-g...e"| |", g ./c/"
Saeta vieja 1" transformation 2"d transformation
Diagram 14: The hypothetical transformation of a saetavieja into a saetasiguiriya involving two
steps: 1. the addition of the quejiosand the extension of a final phrase containing a textual repeat;2. the subdivision of the phrases with even numbered text lines - those of the left hand boxes
in the frame marked "Saeta vieja"- into sub-phrases enlarged with melismas and provided
with different phrase endings.
If this transformation process had really taken place, it would probablyhave resulted in the formation of saetas exhibiting different stages of thistransformation. However, such saetas have not been found. Meanwhile,
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Mus.ex. 14. Saetavieja 16.
a ^ o p J J J J J J J J1jJiJ p p JJ,IAy! El co-ra-z6on_ el co-ra-zon tras-pa-sa - o__
b 4 PJ1J J ;j j j JJ JJ J J ) J JJlie - va mi Vr - gen_ bo - - ta.
a.\ | p$:) ; jJJ J
PJJJ ; J J J jJJiQulenpu- die ra a tu la -
b'-.| JL 2 J J J Jj Jj J)J J iiQuin pu- die - ra a tu a - o
a?t4t , , JJ J,,LT hiTr PJ j jjj,j . h. J Ji.r.y con-so- ar la pe-nl - tas
b".^", ,J'.,Jl, .j.l' " h. , JY JJ,..y con-so-lar la_ pe-ni - tas
que te cau san mis pe-ca -os
Deval's collection includes two saetas (D16 and D17) that are relevant in this
discussion because they show features of both the saeta vija and the saeta
flamenca.Musical Example 14 shows saeta D16, which has kept the traditional
form of the saeta vieja, although it contains one extra repeat. At the sametime, it displays the following features of the saetapor siguiriya:* the quejioat the start; it is rather modest, compared to the quejgoof a realsaetaflamenca, but it is definitely present;* the repeat of the first words at the start of the saeta;* the melismas interpolated in many phrases or added at their endings.
The typical saetaviejaform of saeta D16 is clearly shown in the following
Diagram 15, in which the musical phrases are arranged in the same way as
in Diagram 14 for the saetavieja.The musical phrases are indicated with plainletters; the letters between quotation marks refer to the phrase ending notes.
Diagram 15: The saetaviejastructureof saeta D16.
At first glance the structure of saeta D17, which has already been discussed,looks rather dissimilar from the structure of saeta D16. However, it is possible
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SAETA FLAMENCA / 127
to arrange its constituent parts in a way similar to the one that has been
displayedfor saeta D16 in
Diagram15, if the text line is taken as the
constituent unit. The result is Diagram 16, in which the two stanzas of D17
are displayed next to each other. Each box in the diagram contains a unit
made up of a quejioor a text line and its corresponding musical phrases. The
musical phrases are labeled with a letter that refers to the same letter of the
columns in the paradigm of D17. The final note of the musical phrase, or
pair of phrases, displayed in each box is put between quotation marks. The
boxes are arranged for each stanza in two columns: the boxes having theirmusical ending on the tonic "f" are placed to the right-hand side; all other
boxes are placed to the left-hand side.
First stanza of D17: Second stanza of D17:
quejio
Il'line I'ine
a,b/c:-, g" a,e,: :"of'
2dine |2"d-line 3"' ine,| ,b/c:"Lg" ha d,e:|"- f'
3le ine 4"'line5hln
4' line "'line L "'line 6line
a,b/c: "-4g" e: "-~ ' a,b:-| ,g" e: "-r |
L h line' 1
Diagram 16: Lyrics distribution and phrase endings of saeta D17.
These two arrangements look quite different. However, the setup of the
second stanza appears to be more or less the same as the setup of the saeta
viejain Diagram 14 and of saeta D16 in Diagram 15. In all cases the musical
units, placed in the odd boxes (the right-hand side) end on the tonic of the
mode, while the units of the even boxes (the left-hand side) end just one
tone higher. Another resemblance is the repeat pattern of the text lines. In
all cases the penultimate line is sung twice (in the saeta vieja the order ofthe lines is 12334; in saeta D16 it is 1233445; here it is 1234556).
The first part of saeta 17, containing the first stanza, shows a setup that
is basically identical to that of the second stanza. There are only two
differences. A quejz'oas been added to the start, and the box containing thesecond text line is placed in the left-hand instead of the right-hand column.The added quejz'omay be regarded as a clear case of aflameenquizacidn,hat
is, the adoption of stylistic elements of the cantejondo.The place of the thirdbox in the diagram is due to the final note "g" of the melody. If the singerhad finished the melodic phrase on the tonic "f," the third box would havebeen placed in the right-hand column, and the distribution of the boxes wouldhave shown the regular alternation between left and right of the second stanzaand of the saetavieja n Diagram 14 and of saeta D16 in Diagram 15. A closure
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on "f" in the third box is musically quite acceptable, as the musical syntaxof the relevant boxes shows that the second and fourth boxes function asantecedents to which the third and fifth boxes stand as consequents: (a,b/c+ d,b/c) (a,b/c + d,e).
Therefore, structurally D17 stands much closer to the saeta viea than tothe saetapor carcelera/martinete.n fact, it may be regarded as a saetaviejathatis based on the c-mode instead of the e-mode. Unfortunately, the availabledata do not make it possible to conclude whether D17 is just an exceptionalsaeta or represents a type of saetaviejato which no attention has been devoteduntil now. If the latter case is true, the saeta vieja, like the saetaflamenca, is
likely to be made up of various modal types, of which only one has been
described until now.It may be clear now that, although both D16 and D17 show features ofthe saeta viea and the saetaflamenca, heir basic structures are far more similarto the saeta viea type than to the flamenca type. Therefore, the saetas D16and D17 may be mainly seen as saetas viejas that have been influenced bythe saeta lamenca. In fact, they represent a subsequent development of thesaeta vieja for which the term "saeta viea aflamencada"seems to be most
appropriate. In support of this opinion, it may be stated that there is noevidence for the assumption that these saetas constitute an evolutionary link
between the two saeta types, and it is unlikely that such evidence will show
up in the future. This lack of evidence advocates the view that, as far asthe music is concerned, the saetaflamencahas developed rather independentlyfrom the saetavieja. Possibly, its appearance in the beginning of this centuryshould not be seen as the gradual transformation of the existing saeta form,but rather as the replacement of that form by an improvisational form that
already existed in the flamenco tradition. In any case, the question of themusical origin of the saeta lamenca remains unresolved.
FOOTNOTES
1. "... bastaba una voz entonada y potente; y una dicci6n clara para quese entendiera lo que dice la copla."
2. By Larrea (1949), Pedrell (1917), Schneider (1946) and Valencina (1949),among others.
3. The authors discovered one published transcription of a saetaflamenca.See transcription nr 20 in Schneider (1946:80-81), which the reader after
finishing this article will hopefully identify as a saetapor siguiriya.4. "Umwandlung der volkstiimlichen Liedform in Flamencogesang."5. "... sobre los estilos de la seguidiya o del martinete."6. The transcription is reproduced in this article as Musical Example 13.7. This annual festival is
organized bythe Pefia
Flamencalos
Cernicales.8. The following saetas are addressed to Mary: D4, D9, D16, D18, D21,D24 and D25. The remaining ones are addressed to Christ.
9. These interviews were held in Granada and Sevilla by Corinna Kramerin preparation for her Master's thesis "De Saeta in de Semana Santavan Sevilla."
10. "El cante de expresi6n mas sentimental, triste y profunda de todo elcante flamenco."
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SAETA FLAMENCA / 129
11. Lines that contain only seven syllables are considered to be octo-syllabicones if the last
syllablehas an accent. This is the case in lines 2 and
4 of the copla. Line 5 does not fit into the octo-syllabic pattern.12. The lyrics reproduced in this study are as given by Deval (Appendix
I, [6]). Translation: With cold sweat and barefooted / my Jesus went
along / losing all his strength / to carry the cross / and a good man starts
to help him.
13. < quejido:lamentation.
14. See the numbers 1, 2, 4, and 6 of the "Grupo de las tonas."15. In saeta D21 the phrase IVb consists of two sub-phrases, both ending
on the final tone "f."
16. In this study the male form "saetero" is used generally as a collectiveform for both male and female performers of the saeta.
17. The order of the text lines of the copla in the saeta is 2-1-2-3-4-5, the
common order of lines in dances like the sevillanas.18. "Dite por martinete mais tres marquee par le fond archaique de Arcos."
19. The "gnatural"s ornamented with a turn-like decoration.
20. See note 2.
21. "Que la saeta tipo, como ha legado hasta nosotros, consta de cinco frases,tiene su comienzo en el primer grado de la escala y el dominante
melodico y final en el tercero; que la terminaci6n de la primera frase
lo es tambien en ese grado; el de la segunda, en el cuarto; el de la tercera,en el tercero, y el de la cuarta, en el cuarta, correspondiendose las frases
dos a dos."
22. There is another way of fitting the number of text lines to the number
of musical phrases, that is, by reducing the number of the latter. This
is demonstrated by two transcriptions, numbered 21 and 21a, in Schneider
(1946:80-81). The musical structures displayed in these transcriptions
may be summarized as follows: 1st phrase (a)-> "e"/ 2nd phrase
(a')-> "e"/ 3rdphrase (b)-> "ph"rp/ 4th phrase (a")-> "e."
REFERENCES CITED
Bartmann, Manfred, und Werner A. Deutsch1994 "Untersuchungen zum Klangstil der andalusischen Saeta." In
Berichte us demICTM-Nationalkomitee eutschlandII, herausgegebenvon Marianne Brocker, 137-156. Bamberg: UnivrBibliothek
Bamberg.Criville y Bargall6 Jose1983 El folklore musical. Historia de la musica espaiiola, 7. Madrid:
Alianza Editorial.
Garcia Matos, Manuel1958 Una Historia delcanteflamenco.Madrid: Hispavox, HH 1023 y 1024.
Larrea, Arcadio de1949 "La saeta." Anuario musical IV: 105-135.
Miillerburg, Marion1985 Die Saeta der Semana Santa. Ausdrucksform ndalusischerPoesie und
Volksfrommigkeit.heinfelden: Schauble Verlag.Pedrell, Felipe1917-22 Cancioneromusicalpopular espanol. Vails: Castells.
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130 / 1998 YEARBOOK FOR TRADITIONAL MUSIC
Rossy, Hipolito
1966 Teor'adel cante ondo. Barcelona: Credsa. (Panoramas A-Z 35).Ruwet, Nicolas1972 "Methodes d'analyse en musicologie." In Language,musique,poesie,
100-134. Paris: Editions du Seuil.
Schneider, Marius
1946 "A prop6sito del influjo arabe. Ensayo de etnografia musical dela Espafia medieval." Anuario musical I: 31-140.
Valencina, Fray Diego de1949 Historiadocumentadaela Saeta,loscampanillerosyl rosario e la aurora.
Sevilla: Edici6n Catolica Espafia.
APPENDIX I
Audio recordings Used
(The additional saetas, not contained in the collection Deval in [6], matchthese documents in the following way: Al in [1]; A2 in [8]; A3 in [8]; A4in [1]; A5 in [7].)
[1] "Brochesde oro" Saetas. Paquita Gomez y Rufo. Coliseum C-0722.Ediciones Sefiador 1990.
Amaraitoy sangrante = Cara A2: "Jesuscautivo"(Seguirilla-Martinete).Popular,Canta: Rufo. [Additionalsaeta no. A4]Amargay de consolar = CaraB4: "Nuestraseiora de la soledad" Martinete).Autor:Manolo Garrido.Canta: Rufo. [Additionalsaeta no. Al]
[2] Losgrandes antan aetas.Juanito Valderrama - Antoniita Moreno - PepePinto - Pepe Marchena. BCN. Divucsa, 1995.
[3] Magna Antologiadel Cante Flamenco.Jose Blas Vega. Madrid: Hispavox,1982.
[4] Peregil Saetas. Productores Jacinto Fernandez Gonzalez, Luis Mariade la Cueva Olie. Pasarela PSC 1066.
[5] Saetas.Antofiita Moreno - Rocio Jurado- Marife de Triana - Gracia
Montes. Indalo 35550, RCA.
[6] Saetas. Cantede la Semana SantaAndaluza. Enregistres lors de la SemaineSainte a Jerez et au Studio Alta Frecuencia (Seville) en avril 93. Col-
lection Flamenco Vivo - Directeur de collection: Frederic Deval.
Audivis, Ethnic B6785, 1993.
[Saetasno. D1-D25]
[7] Saetas. Vol. 3. A. Canillas, Pepe Pinto, M. Vallejo y otros... Fods
SE-20-C-139.Madre mia de la Amargura/ Rosadas amarillas = Cara A3:"A la Virgen de la Amargura"(A. Canillas), popular. [Additionalsaeta no. A5]
[8]SemanaSanta 1994. Saetas.
PaquitaG6mez -
JosePerez
"Peregil". iAlcielo con ella! Pasarela AMC 259.En el calvario se oia = Cam A3. [Additionalsaeta no. A3]Misericordiasiempre rasdando = Cara A4. [Additionalsaeta no. A2]
[9] TheHistoryof CanteFlamenco:An Archive. 5 record set. Everest Records,Everest 3366/5, 1974.
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KRAMER/PLENCKERS SAETAFLAMENCA / 131
APPENDIX II
Survey of the structures of the saetapor siguiriya in the collection Deval.Note I: The arrangement of the following saeta structures in four columns (a, b, c and d) is the same as in the
Diagrams 2 to 5.
Note 2: The occurrence of a melisma in one of the columns is marked with a tilde (-); major rests between the
successive musical phrases are indicated by a semicolon (;).
D2. Jos6 Flores Cascales
Ay-; "d-e"; -- [I] Scnlao; scntao cn e-sc duro Icio;
Ay--; "d-e" [2] que a ti te acaben-; "d-e" de matar-; [3] y esos perros-judios tiranos;
Ay-; [1] Scntao-; -: "d-e" cn ese duro Ic-fio-; [2] quc a ti tc acabcn- de matar-.
D3. El Pel6n
Ay-;
Ay-; "d-e" [2] caminaba-;-- [4] por no poer-;
Ay-; [ ] Con sudor frio-;-;
"d-e" mi Jcs6--;."d-e" con la cruz-;"d-e" y descar-zo-;
[I] Con sudor frio; con sudor frio; - y descarzo;
[3] La fuer-za-; le va fartando;
[5] y un hombe bue-no- le va ayuando:
[2] ca-mi-naba-; - mi Jesfi-.
D4. Angel Vargas
Ay-;: -
Ay-: "d-e" [2] y lo hago-;-; a mi mane-ra---- [4] al ver tu cara-; "d-e" - de; pe-na-
Ay-; [ ] Para ezarte-;-; he veni-do-;
[1] Pararezarte- he venido;
[3] El coraz6n- se me partc;
[5] y te- rezo- con- mi cantc;
[2] y lo- hago- a mi- manera.
D6. El Pel6n
Ay-;
Ay-; "d-e" [2] y curarlc-;
[3] que alli lo cspera-;Ay-; [I] Desatarle-;
D7. Angel Vargas
Ay-;
Ay-; [2] el destino-;
[4]contra l divino-;
Ay-; [ ] Pila-to-;
"d-e" las- hc~rias-,
"d-e" - Mari-a-:- las muile-cas-;
quc teni-a-
"d-e" - Mcsi-as-;- por no perder-;
[1 ] Desatarle- las muilecas;
[3] y cn- trcgarsc- lo al Calvario;
[5] cn- sus di-vinos brazos;[2] y cu~rarle- las herias-.
[ ] Pilato-; por no perder;[3] firm6 entencia-de muerte;[5] lav6- sus ma-nos dcspucs;
[2] el destino- que~ tenia.
D8. Diego de los Santos Bermudez "Rubichi"
Ay-;Ay-; "d-e" [2]cuandoyo teve--o; "d-e" deveni-;
[4] y el rostro lo Ileva-; "d-e" - ;-descolori-o-;
Ay-; [ 1] Y a mi sc me parte -; -;"d-e" ~;- cl coraz6n-;
D9. Diego de los Santos Bermudez "Rubichi"
Ay;-
Ay-; "d-e" [3] pa un habi-to-; "d-e" pa mi ma-re-;
[61 Sacamclo-; "d-e" - del pcli-gro-;
Ay-; [2,1] una limosna yo voy men'gando-;-;
[I] Y a mi se me parte-; el coraz6n;
[3] con- los- ojitos- emparpitaos;
[5] de los fuertes martirios[6] que te habian dao;
[2] cuando- yo te veo de veni-.
[1] En puerta-; De puer-ta; en puerta;yovoy [2] mcn'gando-; una limosna;
[4] y pa un hermano [5] quc tcngo malo en la cama;
[7] Virgencita de la Solea;
"d-e" - de puertaen puer-ta-;
[3] pa un hi-bito pa mi nia-re.
D10. Ana Pefia
[2] y una corona-; "d-e" de espinas-;
[4] y en una cruz de-;-; "d-e" dc ma-cra-;
[4] y en una cruz de-;-; "d-e" de ma-era-;
[I] Llevas sangre-; Ilevas sangre-;-; en tus
[3] que en- tu fren-te- te enclavaron;
[5] alli te- cru-cificaron
[5] alli te- cru-cificaron.
Ay-;mejillas;Ay-;
Ay-;
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132 / 1998 YEARBOOK FOR TRADITIONAL MUSIC
D11. EnriqueElZambo
Ay-; "d-e" [3] y no te pue--;- [5] y no paran-;-;
"d-e" des alevanti-;"d-e" de jalar-te-;
[1] Por tres veccs-; y por trcs veces-; a ti.
pare mio- [2] ec iranel suclo:[4] te apoyas so-brc- tus manos;
[6] csos picaros judios, niarvaos, indecentes-
D12 Curro de la Morena
Ay-;
Ay-; [2] son dos lirios-; "d-e" encendi-os-;- [4] tu pecho es un rosal-; - flori-o-;
Ay-; [ I] Las manos del Pren-dimien-to-;
D13.Joaquin El Zambo "El Cuchi"
Ay-;
Ay-;
[2] llcvan-;
[4] gitanos-;
[I] Las manos; las manos-; dcl Prcndiniien-to;
[3] qic- me- dan micdo el mirarlas;
[5] y un- cri-santemo es tu cara:
[2] son- dos- lirios enccndios.
[1 Cantany lloran- al mismo tiempo;- la misma pe-na-; que- ti- llevas, [3] Prcndimiento.- de
Santia-go-;[ I
]cantan
ylloran- al mismo
tiempo-
D14. El Barullo
Ay-; -- I Ni el sabio-; dc- Salom6n;
Ay-; [2] ni los mas ricos-; "d-e" de Per-sia; [3] tie-nen mi satisfaci6n;- [4] porque al barrio-; "d-e" de los gita-nos-; [5] [y porque] se habia venio a- vivir Dios;
Ay-; [I ] Ni cl sabio-; "d-e" de Salomnn-; [2] ni- los mis ri-cos- de Per-sia-.
D15. Joaquin El Zambo "El Cuchi"
Ay--; -- [I En cl patio; en cl paio- dc- Caffia;
Ay-; [2] entr6 Pedro-; -; y dij6 asi- [3] "Yo- no- conozco a ese honibrc;-- [3] "Yo no conozco-; - a ese- hombre-; [4] ni- su- discipulo fui",
Ay-; [ I] En el patio-; - de Caifa-; [2] entr6- Pedroy dij6 asi-.
D19. Pepe Montaraz
Ay-; -- [ ] Tres ve-ces; trcs ve-ces- el gallo- cant6-;
Ay-; [2] y ya te clareaba-; "d-e" el di-a-; f I] Trcs- veces el gallo- canto;- [3] y en quicn tu mis-; "d-e" confia-bas-; [4] fue San Pe-dro- y te nego;
Ay-; [4) fue San Pedro-;-; "d-e" y te neg6-; [5] pa-que a ti te;:- maltrata-ran.
D22. Pepa de Benito
Ay-; -
Ay-; [2] la corona-; "d-e" del Seior-;
Ay-; [3] quc son dejuncos-; "d-e" mali-nos-;-- [41 que le traspasan-; "d-e" las sie-ncs-;
D23. ManuelValencia
Ay-;Ay-; "d-e" [2] de pasar-;
[- 3] y lleva to-;-;
Ay-; [ ] Lleva sudi-;
[ I No son de rosa: no son de rosa- ni jazmin;[ I] No son de- -?- ni- jazmin;[4] quc le traspasaban- las sienes;
[5] a este-;- las sienes- a cste- cordc-ro divi-no.
[1] Lleva suda-; Ileva suda-; sangre- pura;"d-e" tanlos quebrantos-; [3] y Ileva to el- co-lor- de lirio;"d-e" color de li-rio-; [4] su cuerpo- de- marfil santo"d-e" sangre pu-ra-; [2] de~ pasar tantos quebran-tos.
D24. Mariade los Angeles Jim6nez Dominguez
Ay-;
Ay-; [2] herir tu rostro-; "d-e" siquicra-;--- [3] siendo tu la-:~;-; "d-c" mas hermo-sa-
Ay-; [1 Como pueden-;-; "d-e" los dolo-res-;
[ I] Como pueden-; c6mo pueden-; los- dolores;
[3] siendo- ti la- mis hermosa;
[4] rei-na de la- priniavera;[2] herir tu ros-tro siquie-ra.
D25. Salmonete
Ay-; - [] Ni las flores; n las flores ni el bordao;
Ay-; "d-e" [2]nilasjoyas-; "d-e" mis precio-sas-; [3] pucden aliviar las pcnas;-- [3] pucden aliviar-;-; "d-e" las pc-nas-; [4] de esa cara tan; hermosa
Ay; [ I] Ni las flores ni el bordao, [2] ni las joyas mis precio-sas-;"d-e" mis precio-sas-; [3] pueden aliviar las penas.