Tiento (flamenco)
The tiento is a form, a palo , of flamenco .
term
The term is mostly used in the plural, tientos . The tientos of flamenco have a different musical form and history than the classic tiento . You shouldn't be confused with him.
history
The tientos developed from the tangos of flamenco in the second half of the 19th century . The authorship is attributed to Enrique el Mellizo . Other sources name Diego el Marrurro as the first specialist in this genre. Pepe el de la Matrona named El Mochuelo as the namesake. Some sources argue that it was the other way around: the tientos were the predecessors of the flamenco tangos; the latter are in a sense tientos with an accelerated rhythm.
The following early verses are ascribed to Antonio Chacón :
| Me tiraste varios tientos por ver si me blandeabas y me contraste más firme que las murallas del alba. |
You threw me a few tientos to see if I would soften and you found me stronger than the walls of Alba. |
Adela Rabin attributes the verse to a woman. A lover tried to soften her with his tientos, but she remained steadfast. The word alba should actually be capitalized; What is meant is the city of Alba Pompeia in Piedmont, the walls of which were razed by Napoleonic troops in 1800. The metaphor refers to the steadfastness and honesty of women. Chacón learned the verses from his mother.
Rhythm and character
Tientos are, so to speak, slowed down tangos; the basic clock is the same 2 / 4 ¯ clock as in the latter. The rhythm is often varies, with switching between 2 / 4 - and 6 / 8 ¯ clock. In Antonio Chacón's early interpretations, the rhythmic figures of 19th century South American tango still shine through.
Their character, however, is much more serious, the emotional mood reminds them of the Soleá or even the Seguiriya . In a sense they are the serious, the cante-jondo variant of the tangos: solemn and lyrical.
tonality
The tonality of the tientos follows, as usual in flamenco, the Andalusian cadenza , with occasional sprinkles in the major .
Verses
The stanzas of a tiento consist of four eight-syllable lines. When singing, some of them are repeated, so that the pattern 2-1-2-3-4-3-4 results. A three-line refrain is sung between two stanzas . The themes are usually much darker and sadder than in the variants of Tango.
Forms of performance
The tiento is usually performed with guitar, singing and rhythm, but it can also be interpreted as a dance. As a dance, it is pathetic and dramatic. There are also purely instrumental interpretations on the guitar.
Well-known artists
Outstanding singers from Tientos were or are Tomás Pavón , Aurelio de Cádiz , Manolo Vargas , Antonio Mairena , Pepe de la Matrona , Bernardo el de los Lobitos , Manolo Caracol and Terremoto de Jerez, as well as from the younger generation Enrique Morente , Camarón de la Isla and El Lebrijano . As a female voice, Carmen Linares stood out for her interpretations.
Joaquín el Feo is considered to be the creator of tiento as a dance form . Rosa Durán is considered an outstanding contemporary tiento dancer.
Luis Maravilla and Niño Ricardo are known as composers of outstanding instrumental versions.
Individual evidence
- ↑ a b c Ángel Álvarez Caballero: El cante flamenco . Alianza Editorial, Madrid 2004, ISBN 978-84-206-4325-0 , p. 123 .
- ↑ a b c d e Juan Virgillos: Conocer el flamanco - sus estilos, su historia . Signatura Ediciones, Sevilla 2010, ISBN 978-84-95122-84-1 , p. 46 .
- ↑ a b c d Miguel Ortiz: Tiento. In: Flamencoviejo.com. March 15, 2010, accessed January 20, 2018 (Spanish).
- ↑ Adela Rabin: The image of the woman in the song texts of Flamenco . Peter Lang, Frankfurt 2010, ISBN 978-3-631-59928-0 , pp. 123 .
- ↑ a b c d e Tientos. In: Flamencopolis.com. Retrieved January 20, 2019 (Spanish).