Flamenco lyrics

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The poetry of flamenco both in content and in formal terms a rich part of the Spanish song lyric .

subjects

With the Flamenco the tragic themes of death, pain and sorrow are inseparable. On the other hand, there are love topics and stories, some serious and solemn, some passionately presented. To the extent that flamenco deals with objective themes, it tends to personalize them and associate them with strong emotions. This applies to objects of nature such as animals, plants, the wind and the sea, but also inanimate or artificial objects such as stones and cities.

The following examples can only give a rudimentary insight into the diversity of flamenco poetry.

death

«No temo a la muerte
morí es naturá»

"I fear death not
dying is natural"

- Traditional line of verse

By dealing with death, flamenco joins a consistent literary tradition. He is portrayed as the originator and meaning giver of life; therefore one should overcome fear of him. According to Francisco Gutiérrez Carbajo, this view is in the tradition of the ancient philosophers Epicurus and Seneca . In a number of verses death is even longed for, for example in the following stanza which , according to Demófilo , was recited by Silverio Franconetti :

Todos le piden a Dios
la salud y la libertad
y yo le pido la muerte
y no me la quiere mandar.

All ask God
for health and freedom
and I ask him for death
that he does not want to send me.

Many song verses in flamenco mourn the death of a loved one: the mother, the father, a child, a friend. It is particularly often the mother who is mourned, as in the following lines, also handed down by Demófilo:

Doblen las campanas
doblen con dolor.
Se ha muerto la mare de mi alma
de mi corazón.

The death bells ring a
painful sound.
The mother of my soul, of my heart
has died.

In the Seguiriya in particular , the mourning for death is expressed in many ways, for example in the following stanza from Demófilo's collection:

Día de Santiago
al ponerse el sol
cómo mararon a mi bata y bato
miren qué dolor

On Jacob's day
at sunset they
killed my mother and father.
See my pain!

Another example is the following copla of a Seguiriya, which has also been performed by well-known singers in the recent past:

Ábrase la tierra
que no quiero vivir
si más en el mundo la voz de mi hermano
no la vuelvo a oír.

May the earth burn
because I don't like to live anymore
if in the world of
my brother's voice I never hear again.

As a young poet, Federico García Lorca created the poetry collection Poema del cante jondo in 1921 . He dealt with his own death in the following memento :

Cuando yo me muera,
enterradme con mi guitarra
bajo la arena.

Cuando yo me muera,
entre los naranjos
y la hierbabuena.

Cuando yo me muera,
Enterradme si queréis
en una veleta.

¡Cuando yo me muera!

When I die,
bury me
under the sand with my guitar .

When I die,
between the orange trees
and the mint.

When I die,
bury me
in a weather vane if you want .

When I die!

Also from this collection is the following short poem:

Muerto se quedó en la calle
con un puñal en el pecho.
No lo conocía nadie.
¡Cómo temblaba el farol!
Madre.
¡Cómo temblaba el farolito
de la calle!
Era madrugada. Nadie
pudo asumarse a sus ojos
abiertos al duro aire.
Que muerto se quedó en la calle
que con un puñal en el pecho
y que no lo conocía nadie.

He lay dead in the street
with a dagger in his chest.
Nobody knew him.
How the lantern trembled!
Mother.
How the street
lamp trembled!
At dawn. Nobody
could look him in the eye
openly in the hard wind.
He was lying dead in the street,
with a dagger in his chest,
and nobody knew him like that.

García Lorca took up the subject of stabbing again in 1927 in his Romancero gitano in the somewhat longer poem Reyerta .

The mourning of a public figure is also occasionally discussed:

Aquer día tan grande
que Riego murió
se le cayeron e ducas las alas
a mi corasón.

On the big day
as Riego died
to grief fell
on the wings of my heart.

A variety of stanzas deal with the funeral:

Si vendes mi ropa
par pagar mi entierro
mira que no vendas esa chaquetita
de alamares negros

If you sell my clothes
to pay for my funeral,
see that you don't sell the little jacket
with the black soutaches .

Nochecita oscura
me dio Dios valor
para llevarme a mi compañerita
Variant: al batito mio
hasta el pantéon

In the dark of night
, God gave me the courage to take
me to the Panteon
to my sweet companion
variant: to my father

illness

A frequent scene of events in flamenco poetry is the hospital, often as the antechamber of death:

Dame la mano, hermana
que no puedo más
que de fatiga que mi cuerpo tiene
se va al hospital

Shake your hand, sister,
because my body is so exhausted
that I can't help
but go to the hospital.

Al hospital me voy
por Dios, compañera
que no te apartes de la vera mía
hasta que yo muera

I'm going to the hospital
for God's sake, mate
don't turn away from me
until I die.

Sadness

Federico García Lorca attributed human personality to the grief in flamenco singing:

“It is admirable como a través de las construcciones líricas un sentimiento va tomando forma y cómo llega a concrecionarse en una cosa casi material. Este it el caso de la Pena. En las coplas la Pena se hace carne, toma forma humana y se acusa con una línea definida. Es una mujer morena que quiere cazar pájaros con redes de viento. "

“It is astonishing how a feeling takes shape through the lyrical constructions and how it is concretized in an almost material thing. This is the case with grief. In the stanzas, grief becomes fleshly, takes on human form, and is accused in a fixed manner. She is a brunette woman who wants to hunt birds with wind nets. "

- Federico García Lorca : Importancia histórica y artística del primitivo canto andaluz llamado «cante jondo»

Many flamenco stanzas go back to older traditions that can go back to the Middle Ages. The old chants are varied in many ways. For example, the following lines have come down to us from the Siglo de Oro :

Van y vienen las olas,
las olas, madre,
a la orilla del mar.
Mi pena con las que vienen.
Mi bien con las que se van.

The waves come and go,
the waves, mother,
on the seashore.
My grief for those who come.
My well-being with those who go.

Understandably, the wish is often expressed that the grief may disappear, as in the following example from Demófilo's collection:

Compañera, no más penas
mira que no soy de bronce
que una piedra se quebranta
a fuerza de muchos golpes.

No more sorrow, mate.
Look, I'm not made of bronze,
look, even a stone breaks
through many blows.

The following verse from Silverio's repertoire is still often sung in various variations:

Por la puerta de Tierra
No quiero pasar
Porque me acuerdo de mi hermano Enrique
Y me cho a llorar.

I don't want to go through the Puerta de Tierra
because I think of my brother Enrique
and I have to cry.

love

Love and sorrow are linked in flamenco, as in poetry in general. A stanza from Demófilo's collection, sung by Enrique Morente , deals with what happens when the desire for love is fulfilled:

Deseada una cosa
parece un mundo
luego que se consigue
tan sólo es humo

What one wishes for
seems worth a world.
When it comes true
it's just smoke.

A frequent object of admiration are the eyes of the desired person, for example in the following stanza of a Sevillana , sung by Enrique Morente for the dancer Nina Corti :

Niña, tus ojos
Fuego y nieve despiden
Fuego para quien quieres
Nieve a los otros
Y yo te ruego
Que aunque me hagas ceniza
Mi alma, me arrojes fuego.

Girl your eyes
are spraying fire and snow
Fire for the one you desire,
snow for the others.
And I beg you:
even if you turn me to ashes,
my dearest, throw fire at me.

The following verses are also dangerous:

Ojos morenicos
Irm'e yo a querellar
Que me queredes matar

Brown eyes
I'll accuse
you of wanting to kill me.

Por unos ojos negros
se perdió Troy
y por unos azules
la España toda.

Troy went under because of black eyes
and
all of Spain because of blue eyes .

But la cara amable del cante , the lovable face of the song , is not neglected in the poetry of flamenco:

Cuando sale mi niña
mi niña a sus corredores
no parece la luna
y el sol se esconde.

When my girl steps out
into her hallways
, the moon doesn't
match her and the sun hides her face.

It mi nena tan bonita
que hasta el sol cuando la ve
amarillea de envida.

My girl is so beautiful
that even the sun
turns yellow with envy when she sees her .

The following lines describe a solea's nocturnal desire for love very directly :

Sueño de noche contigo,
gitana de mis amores;
siento placeres muy grandes
y al despertar mil sudores.

I dream of the night with you,
beloved Gitana;
feel great bliss
and wake up bathed in sweat.

At the end of this section, the following traditional verses, sung by Enrique Morente, should be mentioned:

Por ti me olvidé de Dios
Mira qué gloria tan grande
Yo perdí
Y ahora me voy quedando
Sin gloria, sin Dios y sin ti
Por ti me olvidé de Dios.

I forgot God for you.
What bliss!
I've lost
and now I find myself
without bliss, without God and without you.
I forgot God for you.

nature

Flamenco deals with all kinds of drastic events and actions that immediately generate emotions. But he depicts elements of nature such as the moon, the wind, birds and even stones and their effect on the human mind. The topic of the little bird, for example, has been and is varied in many ways:

Rodríguez Marín, Cantos Populares

Aquel pajarito, mare
Que canta en la verde oliva
Dígal 'usté que se caye
Que su cantar me lastima

This little bird, mother,
who sings in the olive green.
Tell him to rest
because his singing hurts me.

JF Montesinos, Primavera y flor

Madre mía, aquel paxarillo
Que canta en el ramo verde,
Rogadle vos que no cante
Pues mi niña ya no me quiere.

My mother, this little bird that
is singing on a green branch,
begs it not to sing anymore,
because my girl no longer loves me.

The verses of the oldest known Seguiriya are from Francisco de Yepes, who lived in the 17th century:

En este mi huerto una flor hallé.
¡Ay bien de mi alma,
ay bien de mi vida,
si la perderé

In this garden of mine I found a flower,
woe to my soul,
woe to my life
if I lose it.

places

A large number of stanzas have the cities and towns of Andalusia on the theme, Seville , Granada , Cádiz , Córdoba , Jerez and others. We also encounter the Puerta de la Tierra in Cádiz mentioned above in the following stanza of a Seguiriya:

Ayá en Puerta e Tierra
En aquer rincón
Estan los güesos de la maresita
Que a mí me parió.

There at the Puerta de Tierra
in that quarter
are the bones of my mother
who gave birth to me.

The Triana district of Seville , which is considered to be one of the cradles and epicentres of flamenco, plays a prominent role . This is expressed, for example, in the following verses:

En el barrio de Triana
Ya no hay pluma ni tintero
Para escribir yo a mi madre
Que hace tres años que no la veo.

There is no quill or inkwell in the Triana district
so I can write to my mother,
whom I haven't seen for three years.

¡Qué bonito esta Triana!
cuando le ponen al puente
banderas republicanas.

How beautiful is Triana!
when they
hoist the flags of the Republic on the bridge .

F. Lara dedicated a Seguiriya to the city of Jaén . Your first lines are:

Quiero cantar a Jaén
con entrega y amor,
a su pueblo noble
y trabajador;
al torero de arte
y con gran valor,
a los que en las minas
arrastran dolor.

I want to sing for Jaén.
with devotion and love,
for his noble
and hardworking people.
For the artful
torero with a lot of courage
and for those who
struggle painfully in the mines .

job

The hard work of the Gitanos for a living and the forced labor as prisoners was reflected in numerous song lyrics.

The following Bulería complains about the often poorly productive field work :

¿A qué tanto llover
si, a mí, me duelen los brazos
de sembrar y no coger?

Yo sembré un tomillo
y, a mí, no me salió nada;
el que quiera tomillo
que vaya al tomillar.

Where's all the rain
when my arms ache
from sowing without harvesting?

I sowed thyme.
and nothing grew for me;
if you want thyme, you
have to go to the thyme bush.

The following lines from a fandango describe the dangerous work at sea:

Había pasadito en el mes de enero
tormenta, agua, nieve, viento,
relámpagos y mucho frío;
he visto un barco velero
que se lo estaba tragando el mar
con toditos sus marineros.

It happened in the month of January,
storm, water, snow and wind,
lightning and bitter cold.
I saw a sailboat that was
swallowed up by the sea
with all its sailors.

The work in the mines has produced its own genre of songs , the Cantes de las minas . Two examples are quoted from the abundance of texts:

No se asuste usted señora
Que es un minero el que canta;
Que del polvo de la mina
Tiene ronca la garganta.

Trabajando en una mina
De la Sierra de Guayano
He descubierto un filón
Que tiene metal gitano
Y lo he descubierto yo.

Do not be afraid, Señora,
that it is a miner who sings, his
throat hoarse
from the dust of the mine.

While working in the mine
in the Sierra de Guayano
, I discovered an ore vein
with gitano metal
and I discovered it.

Minero, ¿pa qué trabajas
Si pa ti no es el producto?
Pa el patrón son las alhajas
Para tu familia el luto
Y para ti la mortaja.

Monte arriba, sierra abajo
Con mi carburico en la mano.
Camino de mi trabajico,
Cuando pienso en lo que gano
Me vuelvo del tajico.

Miner, what do you work for
when the yield isn't for you?
For the patron is the jewels,
for your family the mourning dress,
and for you the shroud.

The mountain above, the mountain below,
the carbide lamp in
my hand, my way to work.
When I think about what I'm doing,
I turn on my heel.

The annual Festival del Cante de las Minas in La Unión emerged from the tradition of such songs .

Gitanismo

Flamenco is deeply rooted in the culture of the Andalusian Roma , the Gitanos. In the songs of flamenco this is expressed in numerous linguistic peculiarities. Grammatical forms, word forms and also completely independent words from the Andalusian dialect and from the Caló are commonplace. Flamenco is also linked in many ways to the ethnic identity of the Gitanos in terms of its content. Extreme voices like the singer Agujetas el hijo even claim:

"Un gachó no puedo cantar Flamenco."

"A gachó cannot sing flamenco."

- Agujetas el hijo

The pride of one's own ethnic group is expressed above all in numerous songs that depict the charm of the Gitanas. It is expressed, for example, in the following lines of a soleá :

Qué guapa está mi gitana
bailando por soleá;
Un arte tiene su cuerpo
que no se puede aguantá.

How lovely is my Gitana
when she dances to Soleá,
her body so skillfully
almost unbearably beautiful.

It is even more indulgent in the following Zorongo :

El cuerpo como los mimbres,
la carita de amapola;
labios grana que bendicen,
ojos verdes que enamoran.
Cuando baila mi gitana,
con esa gracia y ternura,
cubre de gloria la sala
derrochando su hermosura.

The slim body,
the face like a poppy
blessing garnet lips,
green eyes to fall in love with.
When my Gitana dances
so gracefully and lovingly
, she lavishly fills the hall
with the sheen of her charm.

A number of songs are direct homages to Gitano artists, such as the following Cantiña :

Era un gitano,
se llamó Tío Pinini
y era un gitano
que cantó por derecho
los cantes caros.

Desde Lebrija
se vino a Utrera,
con sus cantiñas
puso bandera

He was a gitano named
Tío Pinini
and he was a gitano
who rightly
sang the precious songs.

From Lebrija
he moved to Utrera
with his cantiñas he
set standards .

to form

Tension between tradition and creativity

There are a large number of traditional forms in flamenco . At the same time, new forms are constantly being invented and deviations are tested. The great masters of flamenco are characterized by being familiar with the rules and finding the right balance between tradition and new creation:

«... the quehacer de los grandes creadores consiste en saber tomar como referentes los modelos de los creadores anteriores e intentar vencerlos con gracia, de modo que se note al mismo tiempo la sujeción y la victoria."

".... the duty of the great creators is to know how to take the models of the previous creators as a reference and to try to defeat them with grace, so that submission and victory can be felt at the same time."

- Francisco Gutiérrez Carbajo

Accordingly, the conventions described below are not to be understood as rigid rules, but rather as a pattern with many deviations.

Stanzas

Common starting scheme

At the beginning of some chants, but not generally, there is an unequal pair of verses in pair rhymes, with a five-syllable line at the beginning and a nine-, ten or eleven-syllable second line, as in the following examples:

Cuando va andando
rosas y lirios va demarrando.

When she leaves she
gives off roses and lilies.

Tiene los served
como granitos de arroz con leche.

Your teeth are
like grains of rice with milk.

Three-line forms

Among the three-line stanzas, the eight-syllable tercerilla is the most common. It is the most common form of soleá:

Cuando yo más te quería
fue presiso el orviarte
porque si no me moría

When I loved you the most
I had to forget you
or I would have died.

Muertesita lahabenré
como la vi tan bonita
la carita le tapé.

I found her dead.
When I saw her so beautiful,
I covered her sweet face.

Sometimes the first line is shortened. Demófilo and Francisco Rodríguez Marín collected a number of these stanzas. They called them Soleariyas :

La Lola
La Lola se va a los Puertos
La isla se quea sola.

La Lola
La Lola goes to the ports.
The island remains deserted.

Por ti
La horitas de la noche
Me las paso sin dormí

Because of you
I lived through the
hours of the night without sleep .

Four line forms

Quatrains with eight syllables per verse are a very common form. They are called Tiranas . They can be found in a number of palos , such as the Caña , the Polo , the Liviana , the Malagueña and the Tiento . They also occur in Soleares , as in the following example:

Si te duelen soledades
del bien que alegre te estuvo
ayúdame con suspiros
del alma consejos mudos.

If the good that found you happy left
you
with painful loneliness, help me with sighs,
the silent advice of the soul.

The six-syllable form of the quatrain can be found in the stanzas of the Alboreá :

En un verde prado
tendí mi pañuelo
salieron tres rosas
como tres luceros.

On the green meadow
I spread my handkerchief out of
three roses that grew
like three stars.

Five-syllable quatrains are found in Bulerías :

Ay, que te quiero
te v'y a querer,
aunque no tenga
pan que comer.

Ay i love you
I loved you
even if I had no bread
to eat.

In the Seguiriya, too, four-line stanzas are the predominant form, but there with manifold variations in the number of syllables and in the foot of the verse , often also within the stanzas. For examples, see the Topics section above .

Five-line forms

Among the five-line stanzas there is a form that Demófilo called Deblas . However, the Palo of the same name does not always follow the pattern that Demófilo handed down. Four lines of the stanza are eight-syllable, the fifth has six syllables:

Jasta los árboles sienten
Que se caigan las hojas
Mira si sentiré yo
Que jablen de tu persona.
Deblica barea.

Even the trees can feel
their leaves dropping.
See if I can feel
that they are talking about you.
Deblica barea.

No quiero escendé d'arai
Caló es mi nasimiento
Sino que quiero yo sé
Como mi generamiento
Deblica barea.

I don't want to be a descendant of the Moors.
Caló is my birth.
I want to know
my parentage.
Deblica barea.

The five-line stanza, with full rhyme or with assonant rhyme , is typical of fandangos, malagueñas, granaínas and various forms of cantes de minas . The rhyme scheme is usually ababa.

Six line forms

Stanzas with six lines are also typical of Cantes de minas . They also form a common metric basic structure of the Petenera . The rhyme scheme is usually ababab.

Que ganamos en la mina
marditos sean los dineros
que ganamos en la mina,
yo gastármelos prefiero,
aunque viva en la rüina;
por si de pronto me muero.

What we have earned in the mine,
damn it is the wages
What we have earned in the mine,
I prefer to spend
even if I live in a ruin
because I might die all of a sudden.

Petenera de mi bida;
Petenera er corasón;
Por causa e la petenera
   ¡Soleá, triste de mí!
Por causa e la petenera
Estoy pasando doló.

Petenera of my life;
Petenera my heart;
The petenera is the reason for
   my sad loneliness!
The petenera is the reason
that I suffer pain.

Other forms

Ten line poems are the form of the guajira flamenca .

There are also a variety of short poems in different forms, for example:

Gloria
Y a su bendita Madre
Victoria
Gloria al recién nacío
Gloria.

Gloria
And his blessed mother:
Victoria
Gloria the newborn
Gloria.

Yo vengo de Hungría
Con mi Mariana
Me busco la vía
Troloró

I come from Hungary
with my Mariana .
I'm looking for my way.
Troloró.

The Romance flamenco is one of the oldest traditional poetic forms of flamenco. They are narrative poems with long stanzas. Eight-syllable verses predominate, but with numerous exceptions and irregularities. There is a close connection to the popular romance castellano , but with linguistic differences: Castilian words have been replaced by Gitano words, which are more popular in the given context. Grammatical constructions that are considered mistakes in high-level language are not uncommon, for example superfluous repetitions of connective words and anacolutes .

Stylistic features

Rhymes

As in folk songs around the world, stanzas with ending rhymes are the most common form in flamenco . Assonant rhymes outweigh the full rhyme. Alliterations will occasionally appear in the texts, but are used rather sporadically. Characteristic of some palos, however, are so-called tarabillas , alliterated sound sequences that announce what follows. The song por Alegrías begins with Tiriti trán trán trán . Sounds Lerelere le , so the listener can expect a soleá.

Similicadencias

Similicadencias (from Latin similiter cadens , similarly falling ) are sequences of words with a similar ending, for example:

"En er Puerto murió Candio"

"Candio died in the harbor"

«Verte, crossed y amarte»

"See you, desire you, love you"

Other stylistic features

A number of other stylistic twists, which can generally be found in Spanish poetry or in poetry in general, are also used in flamenco, including:

• Paranomasia , the juxtaposition of words with a similar sound but different meanings.
• Onomatopoeic expressions such as olé , ay , or the tarabillas mentioned above . This also includes meaningful words whose sound corresponds to their meaning. For example, bamba ( chance hit ), chufla ( joke ), faralá ( frills ), ganguear ( nibbling ), zapatear ( drumming with the boots ) as well as rumba , tango and zambra are used onomatopoeia .
• Numerous and varied repetitive figures, especially anadiplose , epanadiplose and anaphora .
• Juxtapositions in the form of chiasms and hyperbatonta .
• Paradoxes and Pleonasms .

Web links

• Las letras del flamenco. In: hispanoteca.eu. Justo Fernández López, accessed on August 16, 2019 (Spanish, other content-related aspects and numerous other examples). 

References and comments

1. ^ ^{A b} Francisco Gutiérrez Carbajo: La poesía del flamenco . Editorial Almuzara, Córdoba 2007, ISBN 978-84-96710-61-0 , p. 69 .
2. ↑ María del Carmen García Tejera: Poesía Flamenca. Análisis de los rasgos populares y flamencos en la obra poética de Antonio Murciano. Servicio de publicaciones, Universidad de Cádiz, Cádiz 1986, ISBN 84-600-4207-3 , p. 202 ( cervantesvirtual.com [PDF; 7.0 MB ; accessed on August 8, 2019]).
3. ↑ Felipe Gértrudix Lara, Felipe Gértrudix Barrio, Manuel Gértrudix Barrio: Palos y estilos del Flamenco . bubok, Madrid 2009, ISBN 978-84-613-1604-5 , pp. 33 ( researchgate.net [PDF; 8.2 MB ; accessed on August 8, 2019]).
4. ^ ^{A b} Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 70 .
5. ^ ^{A b} Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 71 .
6. ↑ ^{a b c d} Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 72 .
7. ↑ marar ( caló ) = matar ( Castilian )
8. ^ Translations from the Caló, unless otherwise mentioned, according to Franciso Sales de Mayo; Francisco Quindalé: El Gitanismo, Historia, Costumbres y Dialecto de los Gitanos . Librería de Victoriano Suarez, Madrid 1870, ISBN 978-0-270-15674-4 , section Diccionario Gitano (reprinted in facsimile by Wentworth Press).
9. ↑ bata , bato (caló) = madre , padre (Castilian)
10. ^ Federico García Lorca: Memento. In: poemas-del-alma.com. Retrieved August 1, 2019 (Spanish). 
11. ↑ Federico García Lorca: Poemas - poems . Ed .: Gustav Siebenmann. Reclam, Ditzingen 2007, ISBN 978-3-15-018480-6 , pp. 30 (Spanish: Poemas . Translated by Gustav Siebenmann, bilingual Spanish-German).
12. ↑ Federico García Lorca: Primer romancero gitano . Ed .: Martin von Koppenfels . 5th edition. Suhrkamp, ​​Frankfurt am Main 2019, ISBN 978-3-518-22356-7 , pp. 16–19 (Spanish: Primer romancero gitano . Translated by Martin von Koppenfels, bilingual Spanish-German).
13. ↑ ^{a b} José Gelardo Navarro: Miguel Hernández y el flamenco. In: Studylib.es. P. 22 , accessed on August 1, 2019 . 
14. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 73 .
15. ↑ pena | Spanish »German | PONS. Pena in Spanish means both grief and punishment. Retrieved August 6, 2019 . 
16. ↑ Federico García Lorca: Importancia histórica y artística del primitivo canto andaluz llamado «cante jondo» . Conferencia leída en the «Centro Artístico» de Granada. Ed .: La Sapienza University , Rome. Granada February 19, 1922, p. 16 ( uniroma1.it [PDF; 221 kB ; accessed on August 6, 2019]).
17. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 75 .
18. ^ ^{A b} Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 76 .
19. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 88 .
20. ↑ Puerta de Tierra (Former city gate). In: Cadiz City Council. Retrieved August 7, 2019 . 
21. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 79 .
22. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 80 .
23. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 81 .
24. ↑ ^{a b} Felipe Gértrudix Lara, Felipe Gértrudix Barrio, Manuel Gértrudix Barrio: Palos y estilos del Flamenco . S. 75 .
25. ↑ Pedro M Piñero Ramírez: De la Canción de Amor Medieval a las Soleares . Professor Manuel Alvar in memoriam. In: Actas del Congreso internacional Lyra minima oral III . Fundación Machado y Universidad de Sevilla, Seville November 26, 2001, p. 632 ( google.de [accessed on August 6, 2019]).
26. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 86 .
27. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 87 .
28. ↑ María del Carmen García Tejera: Poesía Flamenca . S. 10 .
29. ↑ Teofane Egido: Los Yepes, una familia de pobres. In: Biblioteca Virtual Miguel de Cervantes. Retrieved August 8, 2019 . 
30. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 89 .
31. ↑ Significado de GÜESO. In: El bienhablao. Retrieved August 9, 2019 . 
32. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 90 .
33. ↑ Felipe Gértrudix Lara, Felipe Gértrudix Barrio, Manuel Gértrudix Barrio: Palos y estilos del Flamenco . S. 194 .
34. ↑ Manuel Martínez Martínez: Los Gitanos y las Gitanas de España a Mediados del Siglo XVIII . Universidad de Almería, Almería 2017, ISBN 978-84-16642-71-7 , pp. 42 ff . ( google.de [accessed on August 13, 2019]).
35. ↑ Jose Gelardo, Francine loading: Sociedad y cante flamenco: el cante de las minas . biblioteca básica murciana, Murcia 1985, ISBN 84-7564-016-8 , p. 106 ff . ( google.de [accessed on August 13, 2019]).
36. ↑ ^{a b} José Gelardo, Francine loading: Sociedad y cante flamenco: el cante de las minas . S. 107 .
37. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 97-98 .
38. ^ Festival Internacional del Cante de las Minas. In: Festival website. Retrieved August 13, 2019 (Spanish). 
39. ↑ María del Carmen García Tejera: Poesía Flamenca. S. 289 .
40. ^ Stefan Krüger: The music culture Flamenco . Dissertation, University of Hamburg. Hamburg 2001, DNB  967247101 , p. 123 .
41. ^ Franciso Sales de Mayo; Francisco Quindalé: El Gitanismo . S. 34 ("se aplica al que no es de familia gitana", "is used for that which does not belong to the Gitano family.").
42. ↑ Felipe Gértrudix Lara, Felipe Gértrudix Barrio, Manuel Gértrudix Barrio: Palos y estilos del Flamenco . S. 187 .
43. ↑ María del Carmen García Tejera: Poesía Flamenca . S. 250 .
44. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 111 .
45. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 115 .
46. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 116 .
47. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 119 .
48. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 122 .
49. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 123 .
50. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 125 .
51. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 126 .
52. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 126 ff .
53. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 133 .
54. ^ Antonio Machado y Álvarez (Demófilo): Colección de Cantes Flamencos . Reprint of the original edition from 1881. 2nd edition. Signatura Ediciones de Andalucía, Sevilla 1999, ISBN 84-95122-20-0 , p. 243–244 ( google.de [accessed August 15, 2019]).
55. ↑ The origin and meaning of the phrase Deblica barea is controversial. It's kind of like a chorus on the fifth line of many Deblas. See Adela Rabien: The image of the woman in the lyrics of flamenco . Peter Lang, Berlin 2008, ISBN 978-3-631-59928-0 , pp. 230 ( google.de [accessed on August 15, 2019]).
56. ↑ arai (caló) = moro (Castilian); Demófilo, p. 244
57. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 134 .
58. ^ ^{A b} Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 135 .
59. ↑ Demófilo: Colección de Cantes Flamencos . S. 247 .
60. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 137 .
61. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 151 .
62. ↑ a Palo of Flamenco, see Marianas. In: Flamencopolis. Faustino Núñez, 2011, accessed August 16, 2019 (Spanish). 
63. ↑ In Spanish, romance is masculine
64. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 150 .
65. ↑ Ángel Álvarez Caballero: El cante flamenco . Alianza Editorial, Madrid 2004, ISBN 978-84-206-4325-0 , p. 30 .
66. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 158 .
67. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 150 .
68. ↑ Alegrías. In: Flamencopolis. Faustino Núñez, 2011, accessed August 16, 2019 . 
69. ↑ Bernard Leblon: Flamenco . Palmyra, Heidelberg 2001, ISBN 3-930378-36-1 , p. 52 .
70. ↑ Gutiérrez Carbajo names, not entirely in agreement with other sources, Homoioptoton as a synonym
71. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 167-168 .
72. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 168 .
73. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 170 .
74. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 174-175 .
75. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 177 .
76. ^ Francisco Gutiérrez Carbajo: La poesía del flamenco . S. 187-188 .