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Bambera (Spanish pronunciation: [bamˈbeɾa] ) is a cante , one of many traditional song forms associated with flamenco.
The bambera or bamba derives from the cante de columpio, meaning "song of the swing", which is one of the traditional Andalusian song forms associated with flamenco. These songs were known as bambas or mecederos (from a Spanish word meaning 'to sway'), because they were sung to the rhythm of a swing.
Jose de Bisso in his Chronicle of the Province of Seville (1868) describes it thus:[ full citation needed ]
The Vampas or Bambas is a double swing that is suspended from a heavy tree, the walnut tree, and crossed with a quite resistant plank; the pair that are rocked are placed in it while the group sings and pushes the swing. Each song sung by one of those in the group, is answered by one of those on the swing; but the unique thing about these occasions is that lovers get a chance to hear each other's complaints, jealousies, disdain, tenderness, galantries, resentments, snubs etc. expressed through an improvised song with lively imagination and perspective and the release of contained passion.
The origin of the bamba/bambera is ascribed to the flamenco singer known as Niña de los Peines (real name Pastora María Pavón Cruz 1890 – 1969), considered one of the most important voices in the history of the art. This song form was further developed by Naranjito de Triana who imposed the distinctive rhythmic pattern of 12 count soleá.
The bamba has four octosyllabic lines or alternatively, a first and third line of seven syllables with a second and fourth line of five syllables. The first two lines are generally repeated at the end of each verse, or sometimes only the second line is repeated thus making a five line verse.
The bamba has been recorded by many singers; among others are La Niña de los Peines, Enrique Morente, Carmen Linares and Rocío Jurado.
Péinate tú con mis peines,
que mis peines son de azúcar,
quien con mis peines se peina,
hasta los dedos se chupa.
Péinate tú con mis peines,
mis peines son de canela,
la gachí que se peina con mis peines,
canela lleva de veras.
La Niña de los Peines (Pastora María Pavón Cruz)
La bamba está bien sujeta (The swing is holding well)
con una soga en ca lao (with a rope falling.)
meciéndote se te aprietan (to push you swinging)
mis manos a tu costao (My hands on your hips)
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Siguiriyas are a form of flamenco music in the cante jondo category. This deep, expressive style is among the most important in flamenco. Unlike other palos of flamenco, siguiriyas stands out for being purely Romani (Calé) in origin. Siguiriyas are normally played in the key of A Phrygian with each measure consisting of 12 counts with emphasis on the 1st, 3rd, 5th, 8th and 11th beats as shown here:
Alegrías is a flamenco palo or musical form, which has a rhythm consisting of 12 beats. It is similar to Soleares. Its beat emphasis is as follows: 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 [12]. Alegrías originated in Cádiz. Alegrías belongs to the group of palos called Cantiñas and it is usually played in a lively rhythm. The livelier speeds are chosen for dancing, while quieter rhythms are preferred for the song alone.
Antonio Fernández Díaz known as Fosforito, is a flamenco singer and winner of the fifth Golden Key of flamenco singing. Only five of these have been awarded since the award's inception in 1862. Its previous winners were Tomás "El Nitri," Manuel Vallejo, Antonio Mairena, and Camarón de la Isla (posthumous).
Pavón or Pavon can refer to:
Mayte Martín is a flamenco cantaora (singer), bolero singer, and composer.
The cantiñas is a group of flamenco palos, originated in the area of Cádiz in Andalusia. They share the same compás or rhythmic pattern with the soleá and are usually sung in a lively rhythm. They are normally sung in a major mode and have a festive mood.
Polo is the name of a flamenco palo or musical form. There is only one known song in this palo, which is extremely similar to another palo called caña, and its guitar accompaniment, like the caña, shares its rhythm and motifs with soleá. Both the caña and polo share the same musical mode. The polo has usually been considered as a derivation of the caña. To complete the singing of the polo, singers usually sing a stanza in the palo of soleá, generally in the style called soleá apolá.
Antonio Cruz García, known as Antonio Mairena (1909–1983), was a Spanish musician, who tried to rescue a type of flamenco, which he considered to be pure or authentic. He rescued or recreated a high number of songs that had been almost lost, and also published several books and articles to divulge his views on flamenco and flamenco history. He considered himself as heir to the art of Manuel Torre, the most classic flamenco singer from Jerez, and also acknowledged the influence of other masters like Tomás Pavón or Joaquín el de la Paula.
Pastora Pavón Cruz, known as La Niña de los Peines, is considered the most important woman flamenco singer of the 20th century. She was a sister of singers Arturo Pavón and Tomás Pavón, also an important flamenco singer, and aunt to Arturo Pavón, the first flamenco pianist. Both brothers, Pastora and Tomás, together with singer Manuel Torre, were the inspiring models for the next generation of singers like Antonio Mairena, Pepe de la Matrona or Fosforito, who led the movement towards the revival of traditional forms in the decades of the 1950s-1970s.
Cantes de ida y vuelta is a Spanish expression literally meaning roundtrip songs. It refers to a group of flamenco musical forms or palos with diverse musical features, which "travelled back" from Latin America as styles that, having originated in the interplay between musical traditions of peninsular Spain and those of Latin America, developed into renewed forms that were reintroduced in Spain. Usually they have a more mellow character than the more traditional flamenco songs.
José Tejada Marín, known as Pepe Marchena and also as Niño de Marchena in the first years of his career, was a Spanish flamenco singer who achieved great success in the ópera flamenca period (1922–1956). Influenced by singers like Antonio Chacón, he carried to the extreme the tendency to a more mellow and ornamented style of flamenco singing. Owing to his particular vocal conditions and singing style, he excelled mainly in palos (styles) like fandangos, cantes de ida y vuelta and cantes libres, contributing to making them the most popular flamenco styles in the era of the ópera flamenca, and created a new cante de ida y vuelta, the colombiana, later recorded by many other artists like El Lebrijano or Enrique Morente. He was also the first flamenco singer to use an orchestra to accompany flamenco singing, though later he returned to the guitar.
Enrique Morente Cotelo, known as Enrique Morente, was a Spanish flamenco singer and a celebrated figure within the world of contemporary flamenco. After his orthodox beginnings, he plunged into experimentalism, writing new melodies for cante and jamming with musicians of all styles, without renouncing his roots in traditional flamenco singing, which he kept on cultivating despite criticism.
"It hasn't been easy. First came the accusations of corruption of the music, of treachery in his struggle to disfigure what was already perfectly coded. When some albums and some categorical evidence of his knowledge of the classical approach laid these malicious comments bare, then came the most twisted condemnations. That the pace of the compás waned, that he didn't really make you feel and that kind of thing."
Estrella Morente is a Spanish flamenco singer. She was born on 14 August 1980 in Las Gabias, Granada in southern Spain. She is the daughter of flamenco singer Enrique Morente and dancer Aurora Carbonell.
The cante flamenco, meaning "flamenco singing", is one of the three main components of flamenco, along with toque and baile (dance). Because the dancer is front and center in a flamenco performance, foreigners often assume the dance is the most important aspect of the art form — in fact, it is the cante which is the heart and soul of the genre. A cante singer is a cantaor or cantaora.
This is a glossary of terms that relate to flamenco arts.
A campanillero is a flamenco cante or song form. It is in couplets of six verses. It has its origin in sacred songs of Andalusia which were chanted during the early morning procession known as Rosario de la Aurora.
El Concurso del Cante Jondo was a fiesta of flamenco arts, music, song, and dance, held in Granada in 1922. Conceived and initiated by composer Manuel de Falla, it enjoyed early and strong support from the poet Federico García Lorca. The two-day evening event was held outdoors at the Alhambra. The show included the best of well-known flamenco artists, but the contest's prize money was reserved for amateur performers.
The saeta is a revered form of Andalusian religious song, whose form and style have evolved over many centuries. Saetas evoke strong emotion and are sung most often during public processions. The saeta, an unaccompanied song, is also believed to stem from Jewish religious songs which are believed to date back to the 16th century.
Garrotín is a style of improvised song, featuring (palo) flamenco singing, dancing, and guitar playing, which developed near the end of the nineteenth century in Asturias, in northern Spain. It is played or sung in a Major mode, and a simple 2/4 meter, and has a cheerful and festive character. After being introduced into the flamenco repertoire, garrotín was further developed by singer Pastora Pavón, and has been recently popularized by dancer, Carmen Amaya.
Gracia Cabrera Gómez, known professionally as Gracia Montes, was a Spanish copla, flamenco and pop singer.