The Structure of the Saeta Flamenca

7/27/2019 The Structure of the Saeta Flamenca

http://slidepdf.com/reader/full/the-structure-of-the-saeta-flamenca 1/32

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

Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at

http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless

you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you

may use content in the JSTOR archive only for your personal, non-commercial use.

Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained athttp://www.jstor.org/action/showPublisher?publisherCode=ictm.

Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed

page of such transmission.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of

content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms

of scholarship. For more information about JSTOR, please contact [email protected].

International Council for Traditional Music is collaborating with JSTOR to digitize, preserve and extend

access to Yearbook for Traditional Music.

http://www.jstor.org

http://www.jstor.org/stable/768556?origin=JSTOR-pdf

http://www.jstor.org/page/info/about/policies/terms.jsp

http://www.jstor.org/action/showPublisher?publisherCode=ictm

http://www.jstor.org/action/showPublisher?publisherCode=ictm

http://www.jstor.org/page/info/about/policies/terms.jsp

http://www.jstor.org/stable/768556?origin=JSTOR-pdf



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.



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

KRAMER/PLENCKERS



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



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

KRAMER/PLENCKERS




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.



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 - naba

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 - yaya!

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__




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 - naba 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

^ . ...



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



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.




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.

KRAMER/PLENCKERS



112 1998 YEARBOOK FOR TRADITIONAL MUSIC

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,"



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)"

KRAMER/PLENCKERS




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.



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-_:




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 xJê 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



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




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




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

KRAMER/PLENCKERS




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




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.

KRAMER/PLENCKERS




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' jîTj 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.




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 pecho 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

KRAMER/PLENCKERS




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.




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 | |1ê 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,

KRAMER/PLENCKERS




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




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

KRAMER/PLENCKERS




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."




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.

KRAMER/PLENCKERS




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.



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] cuandoyo 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-;




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.

Documents

The Structure of the Saeta Flamenca