Rondeña

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The rondeña is a form, a palo , of flamenco . According to its musical characteristics, it is a form of fandango . It has two forms: the sung rondeña and that for the concert guitar.

tonality

On the concert guitar, the rondeña is played in a very unique key: modal over C sharp . The Andalusian cadenza sounds over F sharp . The sixth string is tuned to D and the third to F sharp. The rondeña is usually sung in major .

rhythm

On the concert guitar, the rondeña is played in the three-part rhythm of fandango. It is usually sung in free interpretation, without a fixed rhythm.

Verses

The basic form of the stanzas are four- or five-line lines with eight syllables per line and asonant or consonant rhymes . They usually depict nature experiences, love stories or remarkable events.

The following verses are mentioned as a text example:

Ya no me arrimo a la reja
que me solía asomar,
que me asomo a la ventana
que cae a la soledad

Si me quieres dímelo
y si no me das veneno
sal a la calle y di:
- Yo maté a mi dulce dueño
con veneno que le dí.

(...)

I no longer come close to the bars
behind which I used to show myself,
behind which I stuck my head out of the window
that is now deserted.

If you love me, tell me,
and if not, give me poison,
run into the street and say:
- I killed my sweet mistress
with poison that I gave her.

(...)

history

The rondeña was popular in Andalusia in the first decades of the 19th century. The writings of Ramón de Mensonero Romanos , Duque de Rivas , Charles Dembowski and Manuel María de Santa Ana testify to this . They were danced in salons and theaters, for example at the inauguration of the Gran Teatro del Liceu in Barcelona in 1847 . The very name suggests that it has its origins in Ronda , and almost all sources agree on this assessment.

The rondeña was probably flamencized towards the end of the 19th century. For example, she danced María López, accompanied by José Triano's guitar in El Suizo , one of the cantantes cafes in Seville. Nowadays the rondeña is rarely danced. For example, she danced Mario Maya in the program De la nieve al mar in the television series Caminos flamencos . Other performers were Meligros Mengibar and Javier Barón in their joint appearance at the Biennial of Seville in 1992 and Isabel Bayón on several occasions, including during their appearance at the Biennial of Seville of 2002.

References and comments

  1. ↑ a b c d e Rondeñas. In: Flamencopolis. Faustino Nuñez, 2011, accessed October 21, 2018 (European Spanish).
  2. ↑ a b Miguel Ortiz: Rondeña. In: Flamencoviejo.com. March 15, 2010, accessed October 21, 2018 (European Spanish).
  3. ↑ La rondeña. In: Tarsis.net. September 25, 2006, Retrieved October 21, 2018 (Spanish).
  4. ↑ Juan Vergillos: Conocer el Flamenco . Signatura Ediciones de Andalucía, Sevilla 2009, ISBN 978-84-95122-84-1 , p. 134 .
  5. ↑ Dueño is both a masculine and a feminine form. The verses that follow indicate that it is the lament of an abandoned woman.
  6. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume I. Signatura Ediciones de Andalucía, Sevilla 2010, ISBN 978-84-96210-70-7 , p. 227-228 (Spanish).
  7. ↑ Ángel Álvarez Caballero: El cante flamenco . Alianza Editorial, Madrid 2004, ISBN 978-84-206-4325-0 , p. 75 - 76 (Spanish).
  8. ↑ a b José Luis Navarro García: Historia del Baile Flamenco . Volume I, S. 228 .
  9. ↑ José Luis Navarro García: Historia del Baile Flamenco . Volume IV, ISBN 978-84-96210-73-8 , pp. 156 .