Martinete
The martinete is a palo of flamenco , that is, one of its musical and dance forms.
origin
It is widely believed that the martinete originated from the chant of the workers in hammer mills; the Toná from Cádiz was the previous form. The bellows in the forges were called martinetes .
The noise in the forge and the very physically demanding work, however, speak against the workers accompanying them with singing. The martinete, even more than other flamenco palos, is closely linked to the musical culture of the gitanos . Older influences are suspected in ancient sacred songs that were sung in synagogues . Even Islamic influences are possible in addition to native Spanish influences from Andalusia and Asturias . The authors Manuel Molina and Manuel Mairena suspect that Carceleras that had disappeared were predecessor forms of Martinete. According to Navarro Rodríguez, El Planeta was the creator of martinete in his later years; the name refers to the large industrial complex of Málaga called El Martinete .
character
The martinete is a cante a palo seco , i.e. without instrumental accompaniment. It demands the greatest dedication and expressiveness from the singer. González Climent characterized him as follows:
«El martinete es grito antropológico, sin falsías expresivas, verdad de a puño. Esta siempre al rojo vivo. "
“The martinete is a human cry, without false expression, naked truth. It's always glowing red. "
Usually the singer raises the pitch during the performance. Occasionally the martinete is used as a climax at the end of a toná or debla .
tonality
In contrast to the toná, the martinete is mainly sung in major , with occasional sprinkles of the Phrygian key that is often used in flamenco .
rhythm
The martinete has no fixed rhythm. Antonio Ruiz Soler created a dance for martinete in 1952. He chose for the offset 12 / 8 rhythm of the Seguiriya . Following his example, it is customary to stick to this rhythm while dancing a martinete.
Verses
The stanzas of Martinete consist of four syllabic verses, corresponding to the Spanish poem form Romance . In the Martinete redoblado verses are repeated, in the Martinete natural they are not.
| Natural | Redoblado |
|---|---|
| Nadie diga que es locura Lo que estoy aparentando Que la locura se cura Y yo vivo agonizando. |
Nadie diga que es locura nadie diga que es locura esto que estabaíto yo aparentando que la locura que la locura se cura y yo vivo agonizando. |
| Nobody says it is madness what I represent, that the madness heals and it comes to an end with me. |
Nobody say it is madness nobody says it is madness what I'm going to portray, that madness, that madness heals and it comes to an end with me. |
A frequent motive was also the hard work and the oppression in the mines of Andalusia:
Los gitanitos of the Puerto
Fueron las más esgrasiaos
Que a las minas del asogue
Se los llevan sentenciaos
Y al otro día siguente
Les pusieron una gorra
Con alpargatas de esparto,
Que er sentimiento m'ajoga.
Y al otro día siguente
Les pusieron un maestro
Que a aquer que no andaba listo
E un palo lo echara ar suelo.
The little gitanos of Puerto
were the unfortunate of all
Those
Damned in the Mercury Mines.
And the next day
they put a cap on
them, gave them esparto grass shoes,
so that pity constricted my throat.
And the next day
they were given a master
who was not ready for action.
He threw them to the ground with the stick.
References and comments
- ↑ a b c d e Martinetes. In: Flamencopolis. Faustino Núñez, accessed March 23, 2018 (European Spanish).
- ↑ a b Martinete. In: FlamencoViejo. Miguel Ortiz, March 15, 2010, accessed March 23, 2018 (European Spanish).
- ↑ a b c d Ángel Álvarez Caballero: El cante flamenco . Alianza Editorial, Madrid 2004, ISBN 978-84-206-4325-0 , p. 50-52 .
- ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume II.Signatura Ediciones de Andalucía, Sevilla 2010, ISBN 978-84-96210-71-4 , pp. 234-235 .
- ↑ Martinetes-Letras. In: Miflamenko.com. January 7, 2015, accessed March 23, 2018 (Spanish). Martinetes-Letras ( Memento of the original from March 24, 2018 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.
- ^ Francisco Gutiérrez Carbajo: La poesía del Flamenco . Editorial Almuzara, Córdoba (Spain) 2007, ISBN 978-84-96710-61-0 , p. 98 (Spanish).
