Siguiriyas Audio Library - Flamenco Guitar Transcriptions

This classification of siguiriyas styles is based on the work of Luis Soler Guevara and Ramón Soler Díaz and their book, "Antonio Mairena en el Mundo de la Siguiriya y la Soleá," published by the Fundación Antonio Mairena and the Junta de Andalucía. The authors analyzed 736 siguiriyas (examples of sung verse) recorded by 95 singers born up to 1920 in mediums ranging from late 19th-century cylinders to CDs released shortly before the publication of the book in 1992. The authors also studied approximately 150 undocumented non-commercial recordings. This website includes 201 audio samples of these and other recordings.

The files included here are provided for study purposes. The audio quality has been reduced to a minimum acceptable level for .mp3 format, but if you try to convert the files to CD format, the quality will deteriorate considerably.

Guitarists wishing to accompany siguiriyas singing need to be familiar with different styles in order to anticipate structural and melodic changes. The different styles are characterized by certain notes in the melody and the basic structure of the sung verse.

Terminology

"Cante" means flamenco singing in a broad sense or a specific style of siguiriya. "Verse" refers to an arrangement of a certain number of lines with a fixed length, meter or rhyme scheme. The term "por arriba" means that the guitar accompaniment is based on the chords E major and F major, and "por medio" refers to that based on A major and B-flat major.

Verse

Siguiriyas are lyric poems of three or four lines of verse. The first (or first two) and last lines have six syllables and the second (or third) line has eleven. Although there is often slight variation in the number of syllables, there is always a longer line in the middle. Two examples are offered below, with the number of syllables in parentheses.

Four-line siguiriya. Notice that the 13 syllables of the third line would be shortened to 10 with the common pronunciation of "para adelante" as "palante," and the seven syllables of the fourth line would become five by pronouncing "para atrás" as "patrás."

(6) Soy desgraciadito
(6) hasta en el andar
(13) que los pasitos que para adelante doy
(7) se me van para atrás

Three-line siguiriya
(7) Y vivo yo con pena
(13) porque a quien quiero con mis cinco sentidos
(8) no estaba a mi vera

The verses are sung with different melodies and structures, depending on the style. Fragmentation and repetition of verse, prolongation of certain syllables, and vocalization (the "aaayyy" heard at the beginning or during the verse) can be just as crucial to some styles as the melody used.

Scale degrees

Flamenco guitarists normally use a capo to adjust the key of the music to the singer's preference. This makes it difficult to compare different recordings of a single style because the recordings are likely to be in different keys. For purposes of analysis, we can use the Phrygian mode to represent the sung melody of siguiriya styles in order to generically refer to each note of the melody as a degree, regardless of the corresponding key. The diagram below represents standard notation and guitar tablature for A and E Phrygian scales. The first note (also called tonic) would be the first degree, the second note would be the second degree, etc. The eighth note would be the first degree once again, because it is essentially the same as the first note, but in a higher register (this is why they are called octaves). Using this same system, Roman numerals are used in reference to chords. For example, in A Phrygian, IV minor would be D minor (D is the fourth degree).

Cabales

While most siguiriyas melodies can be considered to fall within the Phrygian mode, there are several ancient major-sounding styles known as siguiriyas cabales whose melodies are completely different. Their sweet sounds provide relief from the intense drama of other styles, and they are often used to conclude a series of siguiriyas. All these styles correspond to the areas of Triana and Los Puertos: El Planeta, El Fillo 2, El Fillo 3, Manuel Molina 3, Silverio 3 and Loco Mateo 3. Apart from their archaic structure, the antiquity of these styles is indicated by the "fact" that all their creators are believed to have been born between 1790 and 1840. While the cabales of Silverio and Loco Mateo are entirely major-sounding, and the styles of El Planeta (as sung by Pepe Torre) and El Fillo 3 feature only brief and bitter incursions into Phrygian tones, El Fillo 2 is mostly Phrygian, with occasional bittersweet traces of the cabales air.

Attributions

The styles are attributed to the artists with whom they are most closely associated, but this does not necessarily mean that they created these styles. In many cases, they either sang styles that were popular within their family or social group, or sang a personal version of another attributed song form. As opposed to the determination of authorship, the greatest value of this classification of cantes is the compilation of different versions of styles and the establishment of a series of names for their identification.

Siguiriyas of Cádiz

Cádiz styles are characterized by the frequent repetition and linking of lines of verse. Nearly all the styles presented here are clearly related to the cante of El Viejo de La Isla.

Silverio 1

Styles 2 and 3 attributed to this singer correspond to Triana. Silverio Franconetti was born in Seville in 1831 and died in 1889. The beginning of this style clearly resembles El Viejo de La Isla and its derivatives, although from the fifth sung line onward, there are considerable differences. This seems to be a recreation of Silverio based on Triana and Cádiz styles.

Pepe el de La Matrona (1969). With Manolo El Sevillano. Without capo por medio (key of A).
Ayyyayyy
A la Virgen de Regla
yo se lo he rogado
yo se lo he rogado
yo se lo he rogado
que me liberara
que me liberara a un hermano mío
de salir soldado
y a la Virgen de Regla
yo se lo he rogado

El Viejo de La Isla

Pedro Fernández Fernández was born in San Fernando in 1836. While living in Cádiz, he was known as El Viejo de La Isla, and, in his hometown, he used the name of Perico Piña. His sister was known as María Borrico and was the creator of another popular style of siguiriya. During the first two decades of the 1900s, the cante of El Viejo de La Isla was, by far, the most recorded of all siguiriyas, and it seems to have served as a model for the Cádiz styles of Francisco La Perla 2 and Juan Feria, and the Jerez styles of Paco La Luz 1, El Marrurro and Joaquín Lacherna. The styles attributed to Tío José de Paula (Jerez), Pastora Pavón (Jerez), Antonio Mairena 1 (Jerez) and Manuel Torre 2 (Cádiz) are based on derivatives of El Viejo de La Isla (Paco La Luz 1 in the first two cases, and Joaquín Lacherna and Francisco La Perla 2 in the latter two). This group of derivatives was described as "the common melody of the modern siguiriya" by Ricardo Molina and Antonio Mairena in their book "Mundo y Formas del Cante Flamenco."

The style which appears to be the matrix of this group, El Viejo de La Isla, uses four-line verse and normally concludes with the repetition of the last two lines (in all the following examples except the last two). The style normally begins with two piercing and plaintive vocalizations (aaayyy) drawn out at the fifth degree of the scale. This generally starts at the sixth degree (a), is held at the fifth degree (aa), and falls away in an undetermined descending line (yyy). Old-school guitarists frequently accompanied the end of the first vocalization with a IV minor chord (D minor, playing without capo in "por medio" position), but this is rarely heard today. The second vocalization is linked to the first line of verse. The beginning of the first line cuts across the diatonic scale in an ascending arpeggio normally consisting of the first, third and sixth scale degrees (this is also heard in Joaquín Lacherna). From this high note, the melody works its way back down to the tonic in an extended melodic arc (more extended than the Jerez-based derivatives), often taking place over the rest of the first line of verse (Chacón, Torre), or in a tighter arc descending over just one or two syllables (Pastora, Rubia de Las Perlas). Luis and Ramón Soler refer to this as a "mecío" (mecido = rocking or lilting quality). The earliest recordings of this style (Cagancho, Torre, Pastora) are sung with verse that crowds around a dozen syllables into the first line (theoretically only six syllables in length), which fits very well with and may have given rise to the drawn-out melodic arc. After a brief pause, there is normally another "ay" at the fourth scale degree (later recordings omit the "ay," but start at the fourth scale degree; see description of Francisco La Perla 2), and the first two lines are repeated in another melodic arc. In this repetition, the last syllable of the last sung line is omitted in six early recordings (Cagancho, Torre, Niño de La Isla, Pastora). The second half of the cante normally starts with the fragmentation of the eleven-syllable line: The first half is repeated once or twice (the latter thought to be the original form), and the second half often repeats the melody heard in the first line of verse (see Torre's version). The next-to-last sung line features a characteristic "rushing" of the words. This always coincides with an excessive number of syllables in a line of verse, and is probably a way for singers to fit the long line into the rhythm. Many singers have also added this "rushing" to other styles: In the audio files included in this study, the "rushing" is heard either in the repetition of the eleven-syllable line to conclude the cante or when the first line contains an excessive number of syllables (see the style of Joaquín Lacherna). The brief "ay" heard at the start of the third sung line hints at this "rushing." This style usually concludes with a repetition of the third and fourth lines of verse (in about two-thirds of the recordings analyzed by Luis and Ramón Soler and in all the examples included here, except for the last two). In this repetition, the last syllable of the last sung line is omitted in two early recordings (Chacón, Pastora). It is sometimes very difficult to distinguish some of the derivatives of this style because some recordings include characteristics of several of the substyles. This could be due to the fact that each derivative is probably just the way in which its "creator" interpreted the cante of El Viejo de La Isla (obviously, when trying to detect distinguishing patterns in these derivatives, we are much more concerned with establishing "rules" than the artists were). Also, Francisco La Perla, Paco La Luz, Joaquín Lacherna and El Marrurro were contemporaries, and they probably exercised mutual influence. In any case, in the 100 years that these derivatives have existed, their individual development and collective evolution is inevitable, making for a fascinating study or a frustrating analysis, depending on your point of view.

Manuel Cagancho (189?). With Niño del Carmen. This was taken from an ancient cylinder recording, and the distorted sound makes it very hard to listen to. The sample is slowed down by two semitones, as the recording sounds unusually shrill and fast. Between the fourth and fifth sung lines, we hear shouts of "¡Manolo!" and "¡Vamos ya!" This version does not make use of the "ay" at the start of the third sung line. This verse, also recorded by Torre, Pastora and Mairena, uses an excessive number of syllables, like other verse recorded in this style. The repetition of the second line of verse (fourth sung line) ends without the last syllable (muer(te)).
Aaayyy aayyy
Por tu causa me veo
herido de muerte
compañera (de mi vera mira que?)
herido de muer(te)
y para más penas me veo aborrecido
de todita mi gente
y para más penas me veo aborrecido
de todita mi gente.

Antonio Chacón (1909). With Juan Gandulla. Capo at third fret por medio (key of C). Notice the interesting melodic variations throughout the entire cante. In this version, the last syllable is omitted in the repetition of the third and fourth lines of verse. Pastora also recorded this variation (see below).
Aaayyy aaayyy
Si yo supiera la lengua
que de mi murmura
ay si supiera la lengua
que de mi murmura
yo la cortara por el medio el medio
y la dejara muda
yo la cortara por el medio el medio
y la dejara mu(da)

Manuel Torre (1909). With Juan Gandulla. Capo at second fret por medio (key of B). In this example, we can observe all of the characteristics of the style: the drawn out initial vocalization, the second vocalization linked to the first line of verse, the ascending arpeggio in the first line ("Por tu causi-"), the extended melodic arc descending to the tonic ("-ita me estoy viendo ma-"), the brief fourth-degree "ay" that starts the repetition of the first two lines, the omission of the last syllable in the repetition of the second line ("mue"), the fragmentation and repetition of the eleven-syllable line of verse ("y para más penas"), the repetition of the extended melodic arc in the second half of the eleven-syllable line ("-tigas aborrecido me estoy viendo"), and, finally, the "rushing" used to conclude the cante with the repetition of the third and fourth lines of verse ("para más fatigas"). Notice that the last words in the first and third lines ("en la cama," "me veo," "mi alma," and "primito") are not necessary from a lexical or metrical standpoint, but Torre adds them to link to the next line of verse.
Aaayyy aaayyy
Por tu causita me estoy viendo malito en la cama
malito de muerte
ay por tu causita muy malito me veo
malito de mue(rte)
y para más penas
y para más penas
para más fatigas aborrecido me estoy viendo madre mi alma
de toda mi gente
para más fatigas aborrecido me estoy viendo primito
de toda mi gente

El Niño de La Isla (1910). With Ramón Montoya. Capo at third fret por medio (key of C). This may be the most "authentic" recording of this style as the singer was a follower of Pedro Fernández and was born and died in San Fernando.This is one of the only versions to start with more than two vocalizations (La Rubia de las Perlas starts with three). The fifth sung line is in the style of Loco Mateo 1, as happens in the versions of Rubia de las Perlas, Mochuelo and Escacena (the latter two not included in this study), and in versions of Paco La Luz 1 by Talega, Perrate, and Niño de Las Cabezas (not included), possibly indicating the popularity and influence of Loco Mateo (although it must be said that this is a simple melodic variation that may bear no relation to the influence of El Loco Mateo). Notice the sharp drop in the melody after the words "querrá" and "madre," very similar to Mairena's reworking of El Marrurro.
Aaaayy aaayyu aaayu aayu
Cuándo querrá La Virgen
(de) Mayor Dolor
cuándo querrá la Virgen
de Mayor (Dolor)
que los cabellos
que los cabellos
que los cabellos de la madre mía
me los peinara yo
que los cabellos de la madre de mi alma
los peinara yo

Pastora Pavón (1910). With Ramón Montoya. Capo at fifth fret por medio (key of D). Pastora greatly admired Chacón, 21 years her elder, and seems to have recorded this following his version.
Aaayyy aaayyy
Si supiera la lengua
que de mi murmura
ay si la lengüita yo supiera
que de mi murmu(ra)
la cortaría
yo la cortara por el medio el medio
la dejara muda
la cortaría por el medio yo la lengua
dejara muda

Pastora Pavón (1910). With Ramón Montoya. Capo at third fret por medio (key of C). This recording seems to follow the version of her friend Manuel Torre. Notice how she cuts off the last word in the fourth and ninth sung lines.
Aaayyy aaayyy
Por tu causita me estoy viendo malita
malita de muerte
ay muy malita me estoy viendo en la cama
malita de muer(te)
y para más penas
para más fatigas aborrecida me estoy viendo primito
de todita me gente
para más fatigas aborrecida me estoy viendo primito
de toda mi ge(nte)

Pastora Pavón (1914). With Luis Molina. Capo at sixth fret por medio (key of D sharp). Four years later, Pastora recorded these versions that seem to include her own variations. In the fifth sung line, she pushes the melody up a note further, to the seventh degree of the scale. This is heard in the other two samples below. Notice Pastora's original touch here in the third and eighth sung lines. This verse (not the music) is attributed to Francisco La Perla, and also contains "too many" syllables.
Aaayyy aaayyy
Una cartita me mande
que me mande carta
ay dile a mi niño Currito
que me mande car(ta)
que con saber
que con saber que se encuentre muy bueno
me sobra y me basta
que con saber que muy bueno se encuentre mi niño se encuentra
me sobra y me basta

Pastora Pavón (1914). With Luis Molina. Capo at fourth fret por medio (key of C sharp).
Aaayyy aaayyy
Como sé que contigo
no me he de lograr
ay como sé que contigo
no me he de lograr
Así mis penas
así mis penas nunca iban a menos
siempre van a más
doctor mis penas nunca iban a menos
siempre van a más

Pastora Pavón (1914). With Luis Molina. Capo at sixth fret por medio (key of D sharp).
Aaayyy aaayyy
Padre mío Jesús
el de Santa María
ay Padre mío Jesús
el de Santa María
que estos pesares
que estos tormentos que mi cuerpo terelas
sean alegrías
estos pesares que terelos en mi cuerpo
sean alegrías

Rubia de las Perlas (1914). With (Luis Molina?). This is one of the only versions to start with more than two vocalizations (El Niño de La Isla starts with four). As in Pastora's version, the melodic arc is tighter. The fifth sung line is in the style of Loco Mateo 1 (see comments on version by El Niño de La Isla). This sample is slowed down by three semitones. The tempo was unusually fast, the voice exaggeratedly shrill, and the guitar would have to have the capo at the eighth fret por medio. All of this is possible, but the combination of these characteristics suggests that the disk was spinning too fast when the recording was made. Whoever the guitarist is, he insistently marks the rhythm from beginning to end.
Aaayyy aaayyy ay
Hincarse de rodillas
que va a pasar Dios
ay compañera mía
que va a pasar Dios
va a recibirlo
va a recibirlo la madre de mi alma
de mi corazón
va a recibirlo la madre de mi alma
de mi corazón

Manuel Centeno (1929). With Manolo de Badajoz. Capo at fourth fret por medio (key of C sharp). Although this recording is classified as El Viejo de La Isla, it displays several features of Francisco La Perla 2, such as the initial vocalization (which Centeno reduces to a single long-winded "ay"), the diatonic ascent of the melodic arc, the prolongation of syllables in the descent, the prominent use of the linking flourish at the end of odd-numbered sung lines, the repetition of the first line without the "ay" (although this starts at the fourth scale degree), and the unbroken eleven-syllable line. Nonetheless, the cante concludes with the repetition of the third and fourth lines and the characteristic "rushing" of El Viejo de La Isla.
Aaaaaayyyyayy
Mis penas son grandes
que no caben más
son mis penas tan grandes
que no caben más
yo muero loco loquito y rabiando
en un hospital
yo muero loco loquito y rabiando
en un hospital

Antonio Mairena (1951). With Paco Aguilera. Capo at second fret (key of B). Mairena uses the "rushing" to repeat the second line of verse ("yo por tu causa") and to conclude the cante with the repetition of the third and fourth lines of verse ("para más duquelas").
Aaayy aaayyy
Por tu causita yo me veo prima mi alma
yo malito de muerte
yo por tu causa me estoy viendo muy malito en la cama
yo malo de muerte
y para más penas
para más fatigas aborrecido me estoy viendo prima mi alma
de toda mi gente
para más duquelas me estoy viendo yo malito en la cama
yo malo de muerte

Manuel Vargas (1962). With Andrés Heredia. Capo at second fret por medio (key of B). The verse begins without vocalization, the third sung line starts at the fourth degree without the "ay," and the cante concludes with the repetition of the first two lines of verse. He approaches the lines of verse alternating anger and pathos, violence and gentleness, light and shade.
Contemplarme por Dios a mi madre
que no llores más
corre contemplarle a mi madre
que no llores más
dile que vaya
dile que vaya a la Audiencia de Cádiz
por mi libertad
contemplarme por Dios a mi madre
que no llores más

Antonio Mairena (1966). With Ricardo. Capo at sixth fret por arriba (key of B flat). The third sung line starts at the fourth scale degree, and the cante concludes with the repetition of the first two lines of verse. After the fourth sung line, we can hear someone (Rosalía de Triana?) shout, "¡Vale con el cante antiguo, Mairena!"
Aaayyy aaayyy
Por Dios decirle a mi niño Currito
que me escriba carta
corre dile a mi niño Currito
que me escriba carta
que me he enterado
que con saber que mi Curro ya estaba muy bueno
me sobra y me basta
corre dile a mi niño Currito
que me mande carta

Francisco La Perla 1

Francisco Mendoza was probably born around 1850 in Seville, but apparently lived most of his life in Cádiz. The only singer born up to 1920 to record this style was Pericón de Cádiz. The Solers' attribution to Francisco Mendoza is based on comments appearing in José Blas Vega's biography of Aurelio Sellés: When asked about the siguiriyas of Francisco La Perla, Aurelio responded that he knew of two different cantes and sang them with the same two verses that Pericón sings in the recording from which this sample is taken.

Pericón (1968?). With Melchor. Capo at second fret por medio (key of B). Pericón's recording bears characteristics of El Nitri 1 and Curro Durse 1.
Dejármelo ver
dejármelo ver
a los ojitos de mi niño Curro
por última vez

Francisco La Perla 2

Only very slight differences distinguish this style from El Viejo de la Isla: (1) The initial vocalization is less piercing, because, instead of drawing out the fifth degree of the scale, there is modulation involving the fourth degree. (2) The ascent to the fifth and sixth scale degrees in the first line does not make use of the abrupt arpeggio of El Viejo de La Isla (and Joaquín Lacherna), but a longer diatonic line (major-scale notes). (3) After reaching the high note, the descent takes place on the fourth or fifth syllable of the first line (whereas, in El Viejo de La Isla, the descent often takes place over the remaining words in the first line). (4) The odd-numbered sung lines end with a characteristic flourish that links them to the even-numbered sung lines. This is heard in many of the derivatives, as well, but seems to be more developed in and characteristic of this style (see comment on Torre's 1929 recording, below). (5) There is no "ay" before the repetition of the first line of verse (third sung line), but the first syllable usually starts at the fourth scale degree, as heard in the later versions of El Viejo de La Isla (see versions by Centeno and Vargas of El Viejo de La Isla). (6) The eleven-syllable line is not normally fragmented. (7) The cante usually concludes with the repetition of the first and second lines of verse (in a little over two thirds of the recordings analyzed by Luis and Ramón Soler), and does not make use of the characteristic "rushing" of El Viejo de La Isla.

Manuel Torre (1929). With Borrull hijo. Capo at first fret por medio (key of B flat). The third and seventh sung lines start at the fourth scale degree. Notice Torre's placement of the characteristic flourish of this style: As usual, all the odd-numbered lines end with the flourish, linking to the next even-numbered lines. But here, the end of each even-numbered line alternates between pausing after the first syllable ("ma-" and "se" in the second and sixth lines) and repeating the flourish ("madre" in the fourth and eighth sung lines).
Aaay aaay aay
Qué desgracia yo tengo
madre en el andar
qué desgracia yo terelo
madre en el andar
como los pasos que para ade(lante) yo echo
se me vuelven atrás
qué desgracia yo terelo
madre en el andar

Aurelio (1929). With Ramón Montoya. Capo at sixth fret por arriba (key of B flat). In the repetition of the first line of verse (third sung line), rather than starting at the fourth scale degree, Aurelio uses an an anguished melodic ascent. This variation is heard in a recording that Aurelio made 33 years later and a similar idea is heard below in Pastora's version. The seventh sung line makes use of the "rushing" of El Viejo de La Isla.
Aaay aaay ay
Puertecita no tengo
madre adónde llamar
puertecita yo no tengo
madre adónde llamar
llego a la tuya madre de mi alma
la encuentro cerrada
llego a la tuya madre de mi alma
y la encuentro cerrada

Manuel Torre (1931). With Javier Molina. Capo at second fret por medio (key of B). The third and seventh sung lines start at the fourth scale degree.
Aaayy aaayy
Con que grandes duquelas
yo le pido a Dios
por los rincones yo me meto
y le pido a Dios
que me aliviara y en estas dobles
duquelas de mi corazón
con fatigas yo le pido
le pido a Dios

Manuel Torre (1931). With Javier Molina. Capo at second fret por medio (key of B).
Aaayy
Dicen que duermes sola
mienten como hay Dios
dicen que sola duermes
mienten como hay Dios
porque de noche con el pensamiento
dormimos los dos
dicen que solita duermes
mienten como hay Dios

Pepe Pinto (1945?). With Ricardo. Capo at second fret por medio (key of B). Notice how, in this and the following version, Ricardo and Melchor accompany the end of the first vocalization with the IV minor chord (D minor without capo in por medio position). This typical move from the past is rarely heard today. Other tocaores that recorded this feature were Niño Pérez and Eduardo el de La Malena. Perhaps this was an idea that became popular in Seville. The eleven-syllable line is fragmented in this version.
Aaayy aaayy
Qué dolor más grande
qué pena qué pena
qué dolor Dios mío
qué pena qué pena
que estar viviendo
que estar viviendo sin estar en el mundo
la mía compañera
qué dolor más grande
qué pena qué pena

Pastora Pavón (1948). With Melchor. Capo at sixth fret por medio (key of D sharp). In the initial vocalization, Pastora draws out the first "ay," but modulates the second. Although the version is classified as Francisco La Perla 2, there seem to be several features of El Viejo de La Isla: the arpeggiated beginning of the first line, the broken third line, and the repetition of the third and fourth lines of verse in the conclusion, including the characteristic "rushing." Notice Melchor's use of the IV minor chord after the first initial vocalization. The repetition of the first line of verse (third sung line) does not start at the fourth scale degree, but Pastora quickly pushes up to this note in the second syllable ("eso"), reminiscent of the ascending melodic line of Aurelio.
Aaaayyy aaayyy
Una noche oscurita
a eso de las dos
a eso de las dos
y a eso de las dos
le daba voces
le daba voces a la madre de mi alma
no me respondió
voces le daba a mi madre de mi alma
de mi corazón

Antonio Mairena (1959). With Melchor. Capo at fifth fret por medio (key of D). The difference between the initial vocalization of this style and that of others is clearly heard here in the modulation of the opening "ay" (compare this to Chacón's version of El Viejo de La Isla). The combination of flourishes and pauses used to connect lines of verse seems to emulate Torre's 1929 recording of this style.
Aaaay aaaayy
De noche no duermo
y de día no como
de noche no duermo
y de día no como
sólo pensando en mi compañera
yo me vuelvo loco
yo de noche no duermo
de día no como

Aurelio (1962). With Andrés Heredia. Capo at third fret por medio (key of C). Present at this recording session (perhaps heard in the background) was Luis El Compadre, the grandson of Francisco La Perla. As in Aurelio's 1929 recording of this style, the repetition of the first line of verse (third sung line) uses an ascending melody (Pastora recorded a similar idea). Aurelio omits the last syllable in the repetition of the second line of verse, as heard in several early versions of El Viejo de La Isla.
Aauay ay au ay
Te pido llorando
le he pedido llorando
hincadito de rodillas
le pido lloran(do)
que me dé limosna que a mi me quitara
lo que estoy pasando
a él de Santa María
le pido lloran(do)

Antonio Mairena (1963). With Melchor. Capo at third fret por medio (key of C). The third and seventh sung lines start at the fourth scale degree. As in Mairena's 1959 recording, the combination of flourishes and pauses used to link verse seems to emulate Torre's 1929 recording of this style.
Aaayyy aaaayy
Y por los siete dolores
que mi Dios pasó
por los grandes dolores
que mi Dios pasó
para recibirlo a la madre de mi alma
de mi corazón
por los siete dolores
que pasó mi Dios

Agujetas El Viejo (1971). With Félix de Utrera. Without capo por medio (key of A). Notice that this and the following sample include an "ay" at the beginning of the third and seventh sung lines, striking the fourth scale degree. As seen in the previous section, this is a feature of El Viejo de La Isla, but, in this case, perhaps it was designed to keep the entire line of verse intact, rather than using "por" for the fourth scale degree.
Aaayyy aayy
Por aquella ventana oscura
(que) al campo salía
ay por aquella ventanita oscura
(que) al campo salía
le daba voces a la madre (de) mi alma
no me respondía
ay por aquella ventanita oscura
que al campo salía

Agujetas El Viejo (1971). With Félix de Utrera. Without capo por medio (key of A).
Aaayyy
Por los siete dolores
que pasó mi Dios
ay por los siete dolores grandes
que pasó mi Dios
Dios se lo mande a la madre de mi alma
de consolación
ay por los siete dolores grandes
que pasó mi Dios

Juan Feria

It is thought that Juan Feria was born around 1850. This style is also based on that of El Viejo de la Isla. Toward the end of the first line, there is a brief pause, and the last three syllables of the line of verse are quickly projected. This is heard in each repetition of the first line of verse.

Pepe Pinto (1945). With Manolo de Badajoz. Capo at first fret por medio (key of B flat). The projection of the final three syllables is heard in "mi madre."
Aay ayyy
penas tiene mi madre
ay ayyy duquelas tiene mi madre
penas tengo yo
las que yo siento
las que yo siento son las de mi madre
que las mías no
penas tiene mi madre
penas tengo yo

Pepe el de La Matrona (1976). With Félix de Utrera. Capo at fourth fret por arriba (key of G sharp). The projection of the final three syllables is heard in "mataron."
Aaayyyaayy
A mi hermano mataron
plaza de Guadix
mataron a mi hermano
plaza de Guadix
las fatiguitas
las fatiguitas madre que te dieron
me evitó morir
a mi hermano mataron
plaza de Guadix

Manuel Torre 2

Styles 1 and 3 attributed to this singer correspond to Jerez and Los Puertos, respectively. Manuel Soto Loreto was born in Jerez in 1878 and died in Seville in 1933. This style is a variation on Francisco La Perla 2. After the fall in the melodic arc at the fourth syllable, Torre adds a howling upturn at the fifth syllable. This is heard in all the odd-numbered sung lines: the first ("ca-"), the third ("yo"), the second half of the fifth ("en"), and the seventh ("en"). This upturn is not present in the versions below by Pastora, Francisco Mairena and Tomás Torre, although Luis and Ramón Soler classify them as Manuel Torre 2. Listening to Torre's version, it is not hard to imagine that this cante is what inspired Rafael Alberti to write that watching Manuel sing was like witnessing "an injured wild animal; a frightening pit of anguish."

Manuel Torre (1929). With Borrull hijo. Capo at third fret por medio (key of C).
Aaayy aaayaay aayyyy
En mi cuerpo camisita
no me voy a poner
camisita yo en mi cuerpo
no me voy a poner
hasta no verme con mis niñas yo en mi casa
juntitos otra vez
las camisas yo en mi cuerpo
no me voy a poner

El Gloria (1929). With Manolo de Badajoz. Capo at fifth fret por medio (key of D). In the next-to-last sung line we hear the "rushing" of El Viejo de La Isla, and, at the end, the characteristic upturn of this style (de).
Aaaayy aaayayyy
Mis penas es muy grande
que no pueden ser más
son mis duquelas tan grandes
que no pueden ser más
porque me muero sin la calor de mi madre
en el hospital
porque me muero sin la calor de mi madre
yo en el hospital

Pastora (1950). With Melchor. Capo at fifth fret por medio (key of D).
Aaaaaauy aaayyy
Yo camelo guillarme
yo me quiero ir
y a la sierrecita de Armenia
yo me quiero ir
donde no hay
donde no hubiera moros ni cristianos
que sepan de mi
y a la sierra de Armenia
yo me quiero ir

Francisco Mairena (1962). With Eduardo el de La Malena. Capo at second fret por medio (key of B).
Aaay aaaayyy
Qué desgracia yo terelo
madre en el andar
qué desgracia yo terelo
madre en el andar
como los pasos que yo vengo para delante
se me vuelvo atrás
qué desgracia yo terelo
madre en el andar

Tomás Torre (1962). With Eduardo el de La Malena. Capo at fourth fret por arriba (key of G sharp).
Aaayy aaayy aaayyy
De los siete dolores
que pasó mi Dios
de los grandes dolores
que pasó mi Dios
las ha pasaíto la madre de mi alma
de mi corazón
de los dobles dolores
que pasó mi Dios

Siguiriyas of Jerez

Jerez styles are thought to be the most recently created, as the siguiriyas from this area seem to be influenced by what are presumably older styles: The styles of Manuel Molina seem to draw on the schools of Triana and Los Puertos, the cantes of El Loco Mateo bear characteristics of Los Puertos, and other styles are either derivatives of El Viejo de La Isla (Paco La Luz 1, Joaquín Lacherna and El Marrurro) or variations of these derivatives (Tío José de Paula and Pastora Pavón are both based on Paco La Luz 1, and Antonio Mairena 1 is based on Joaquín La Cherna). The recent style of Manuel Torre 1 appears to be a shortened version of Manuel Molina 1. Lines of verse are often repeated, as in Cádiz, and linked together, and the eleven-syllable line is usually fragmented. Except for the oldest styles (as stated, Manuel Molina and El Loco Mateo seem to be influenced by Triana and Los Puertos), Jerez keeps its lines of verse shorter and more concentrated. This concept reaches its summit in the siguiriya of Tío José de Paula, the verses of which are sung in emotion-charged bursts, like electrical discharges. It seems, then, that, over time, Jerez has developed its own approach to singing siguiriyas, given the great dissimilarity between its oldest styles (long and spectacular) and its most recent (shorter and more soulful).

Manuel Molina 1

It seems that "Molina" was an artistic name used in the family of this singer. His real name was Manuel Ortega Vargas, he was born in Jerez in 1822 and he was a friend of Frasco El Colorao and Curro Durse. This cante and another based on it (Manuel Torre 1) have been recorded more than any other style of siguiriya, and both are nearly always sung as the first cante. Although Jerez usually links and repeats lines of verse, this style is an exception (along with Manuel Molina 2 and Loco Mateo 1), as it uses long drawn-out melodic lines, denoting a certain similarity to Triana (it is thought that this style was derived from that of Frasco El Colorao) and none of the lines of verse are linked. A variation of this style of Manuel Molina has been attributed to Paco La Luz and was recorded by Antonio Mairena and Rafael Romero, among others.

Manuel Torre (1909). With Juan Gandulla. Capo at third fret por medio (key of C). At the end of the first sung line and subsequently, we can hear an early example of a guitarist using the II7 chord.
A clavito
a clavito y canelita madre
me hueles tú a mí
el que no huele
el que no huele a clavito y canelita madre
no sabe distinguir

Tomás Pavón (1928). With Ricardo. Capo at second fret por medio (key of B).
A clavito
a clavito y canelito
me hueles tú a mí
el que no huele a clavo y canela
no sabe distinguir

Manuel Torre (1929). With Borrull hijo. Capo at third fret por medio (key of C). Torre's handling of the words "rodillas" and "pidiendo" is particularly interesting.
Te fuiste de
de mi vera te fuiste sin apelación
ahora te veo
ahora te veo que te hincas de rodillas
pidiendo el perdón

Antonio Mairena (1954). With Manuel Morao. Capo at third fret por medio (key of C). Mairena begins this version with a higher-pitched melody (Torre and others begin at the tonic). In the liner notes of a similar version recorded in 1972, Mairena attributed this style to Paco La Luz. Manuel Soto "Sordera" also sang this variation and once stated that it had always been sung within his family. It was recorded in 1926 by José Cepero in a 78-r.p.m. recording titled "Seguidillas de Paco la Luz" which begins with this variation and ends with the style Paco La Luz 1. It seems very likely, then, that this is the way Paco La Luz sang the style Manuel Molina 1.
De noche
de noche no duermo
de día no como
sólo pensando
sólo pensando en mi compañera
yo me vuelvo loco

Rafael Romero (1969). With Sabicas. Capo at fifth fret por medio (key of D). Another version of the variation attributed to Paco La Luz.
La carita
la carita morena
y los ojos negros
se parecía
se parecía a la Virgen del Valle
la que está en San Telmo

Manuel Molina 2

This style was very popular throughout the "Opera Flamenca" period, and was recorded by many artists that did not specialize in siguiriyas. It may be based on Manuel Molina 3, and it also shares some characteristics found in Manuel Cagancho (strong rising melody heard in the first half of the eleven-syllable line of the Triana style) and Loco Mateo 1 (emphasis on fourth and fifth scale degrees implying minor IV chord, and lines sung one after another, with very brief pauses). Due to the spectacular nature of this style, it is almost always used to conclude a series of siguiriyas.

Manuel Torre (1922). With El Hijo de Salvador. Capo at second fret por medio (key of B). In comparison to other recorded versions of this cante, Torre keeps the lines of verse shorter, he doesn't reach the sixth scale degree and he structures the verse differently.
(No) te hablo nunca
que de la causita de que yo a ti te olvide
tú tienes la culpa
que la culpita de que yo a ti te olvide
tú tienes la culpa

Manuel Centeno (1929). With Manolo de Badajoz. Capo at fourth fret por medio (key of C sharp).
Y vivo yo con pena
que a quien yo quiero con mis cinco sentidos
no esté a mi vera

Manuel Vallejo (1933). With Ricardo. Capo at sixth fret por medio (key of D sharp). Notice the VI chord (F por medio). Although the VI chord can be heard in recordings of this style by Pastora Pavón with Currito el de La Jeroma or Manuel Vallejo with Ramón Montoya, it seems to be one of Ricardo's contributions to the development of accompaniment in the 20th century.
Me llamó mi madre
con grandes fatigas-
-as que le habían entrado
comenzó a llamarme

El Loco Mateo 1

Styles 2 and 3 attributed to this singer correspond to Los Puertos. It seems that his name was Mateo de las Heras Carrasco. This style and Manuel Molina 1 and 2 do not use the typical Jerez approach described at the beginning of this section, and are more similar to styles from Triana and Los Puertos. The first sung line features emphasis on the fourth, fifth and sixth scale degrees, implying the minor IV chord (A minor without capo por arriba), and is reminiscent of Curro Durse 1, and, to a lesser degree, of Manuel Molina 2. The melody in the first half of the eleven-syllable line is similar to that of the first verse, creating a kind of symmetry. This also happens, but in a much more obvious manner, in the Los Puertos style Loco Mateo 2. The eleven-syllable line is fragmented and repeated with characteristic vocalization at the midway point. It is interesting to observe that the melody in the first half of the eleven-syllable line appears in some versions of El Viejo de La Isla and Paco La Luz 1 (see comments on El Niño de La Isla's recording of El Viejo de La Isla).

Manuel Torre (1909). With Juan Gandulla. Capo at fifth fret por arriba (?) (key of A).
Siem(pre)
siempre por los rinconcitos
te veo llorando
que yo no terela
que yo no tenga aaauy libertad en mi vida
si a ti te doy mal pago
que yo no tenga auyyy la libertad en mi vida
si a ti te doy mal pago

Aurelio (1929). With Ramón Montoya. Capo at sixth fret por arriba (key of B flat).
Llamarme al medico
llamarme al doctor
que se me arrancan
se me arrancaran auay uay uay y las alas de mi cuerpo
de mi corazón

Manolo Caracol (1958). With Melchor. Capo at second fret por medio (key of B). As in almost all of Caracol's recordings, there are considerable differences between this version and those of other singers. Observe the ending of the first line and his handling of the second line.
Siempre por los rincones
te encuen(tro) lloran(do)
que no terele ay ay ay ay ay la libertad yo en mi vida
si te doy mal pago

Juan Talega (1959). With Manuel Morao. Capo at third fret por arriba (key of G). The first line is very long.
Y el corazón
y el corazón duro como una piedra
tiene esta mujer
como yo estaba ay ay ay uay malito en la cama
y no me vino a ver

Juan Talega (1966). With Ricardo. Capo at third fret por arriba (key of G).
Y el corazón
y el corazón duro como una piedra
tiene esta mujer
como yo estaba ay ay ay uay malito en la cama
y no me vino a ver

Paco La Luz 1

Style 2 attributed to this singer corresponds to Los Puertos. Francisco Valencia Soto was born in Jerez in 1839. Attributed to him is a style that could be described as a Jerez distillation of El Viejo de la Isla and Francisco La Perla 2, in which the melodic lines are shortened and the emotion is concentrated. The initial vocalization is similar to that of Francisco La Perla 2 but is kept shorter and is not normally linked to the first line of verse. The melody in the first line of verse rises and falls back to the tonic in a tighter arc, without the prolongation of syllables heard in other derivatives and without the linking flourish. The eleven-syllable line is normally broken and repeated, and the first two lines are usually repeated to finish off the cante. These are important distinguishing features, but it should be pointed out that some of the versions below include elements from other styles, particularly the linking flourish, which is heard in many early recordings of this derivative. Several versions use very repetitive verse in the first two lines (Torre, Vallejo, Caracol, Perrate and Borrico; this is also heard in the versions of Francisco La Perla 2 recorded by Pastora and Pepe Pinto).

Manuel Torre (1922). With El Hijo de Salvador. Capo at second fret por medio (key of B). The next-to-last sung line features the "rushing" of El Viejo de La Isla. He repeats the third and fourth line at the end of the cante.
Aayyy
Que aqueditos los golpes
aquedos por Dios
qué queditos por Dios
qué quedos por Dios
porque las arrancan esos golpes
las alas de mi corazón
porque las arrancan esos golpes
las alas de mi corazón

José Cepero (1930?). With Ramón Montoya. Capo at second fret por medio (key of B).
Aayyy aayyy
Qué dolor de mi madre
que la llevo yo
qué dolor de mi madre
que la llevaíto yo
ya le robaron la alegría a mi cuerpo
y a mi corazón
qué dolor de mi madre de mi alma
que la llevo yo

El Carbonerillo (1932). With Ricardo. Capo at third fret por medio (key of C).
Aaayyy aaayyy
Por todas las bocacalles
vuelvo yo la cara
por todas las bocacalles
vuelvo yo la cara
por ver si veo
por ver si veo a la mía compañera
de las mías entrañas
por todas las bocacalles
vuelvo yo la cara

Manuel Vallejo (1933). With Ricardo. Capo at sixth fret por medio (key of D sharp). At the end of the fourth sung line, a pioneering flamencólogo shouts out, "¡Viva El Durse!" Vallejo makes prominent use of the linking flourish. The next-to-last sung line features the "rushing" of El Viejo de La Isla, and he uses the last two lines of verse to finish off the cante, as does Manuel Torre.
Aaayyy aaayyy
¿Qué te pasa prima?
¿Qué te está pasando?
¿Qué te pasa prima?
¿Qué te está pasando?
que las horitas que la noche tiene
siempre estás llorando
que las horitas que la noche tiene
siempre estás llorando

Manolo Caracol (1945). With Paco Aguilera. Capo at second fret por medio (key of B, actual pitch between B and C).
Aaaayyy aaayyy
A las doce o la una
cuando vi en el viento
cuando vi en el viento
cuando vi en el viento
siempre me encontraba aborreciendo
de una sin conocimiento (?)
a las doce o la una
cuando vi en el viento

Pepe Pinto (1945). With Manolo de Badajoz. Capo at first fret por medio (key of B flat).
Aaayyy aaayyy
Si lo que a mi me pasa
le pasara a otro
si lo que a mi me pasa
le pasara a otro
era casito
era casito de prevelicar
y volverse loco
si lo que a mi me pasa
le pasara a otro

Pastora (1946). With Melchor. Capo at sixth fret por medio (key of D sharp).
Aayyy aayyy
El corazón de pena
tengo traspasado
el corazón de pena
tengo traspasado
que hasta el hablar
que hasta el hablar madre con la gente
me sirve de enfado
el corazón de pena
tengo traspasado

Antonio Mairena (1954). With Manuel Morao. Capo at third fret por medio (key of C). Mairena stretches out the melody a bit in the first line (his later versions are shorter).
Aayyy aayyy
Como si fueras mía
te miraba yo
como si fueras mía
te he miradito yo
pero quererte como yo te quería
ya eso se acabó
como si fueras mía
te he miradito yo

Juan Talega (1962). With Eduardo el de La Malena. Capo at fourth fret por arriba (key of G sharp). The fifth sung line featues echoes of Loco Mateo 1. It is interesting that, in this and the following version, Juan omits the last syllable in the repetition of the second line of verse, as heard in several early versions of El Viejo de La Isla.
Ayyyy ayyyy
Sintiendo estaban ya las piedras
las fatigas mías
están sintiendo las piedras
las fatigas mi(as)
yo las terelo de día y de noche
de noche y de día
sintiendo estaban las piedras
las fatigas mi(as)

Juan Talega (1966). With Ricardo. Capo at third fret por arriba (key of G, actual pitch between G and G sharp). The first half of the eleven-syllable line is sung in the style of Loco Mateo 1.
Aayyyy
Yo no soy de esta tierra
ni conozco a nadie
de esta tierra yo no soy
y ni conozco a nai(die)
él que hiciera algo por mis niños
que Dios se lo pague
yo no soy de esta tierra
ni conozco a nai(die)

El Perrate (1968). With Juan Carmona. Capo at first fret por medio (key of B flat). The first half of the eleven-syllable line is sung in the style of Loco Mateo 1.
Aaaayy aaaayy
Ya llegó la hora
la horita llegó
ya llegó la hora
la horita ya llegó
que te apartaras
que te apartaras de la vera mía
sin apelación
ya llegó la horita
la horita ya llegó

Tío Borrico (1971). With Pedro Peña. Without capo por medio (key of A). The first line is linked to the second, the eleven-syllable line is unbroken and ends with the linking flourish, and the next-to-last sung line uses the "rushing" of Joaquín Lacherna.
Aayyy aayyy
Delante de mi mare
no me digas na
compañerita mía
no me digas nada
que me naquera muy malitamente
cuando tú te vas
delante de mi momaíta amigo no
no me digas nada

Antonio Mairena (1976). With Enrique de Melchor. Capo at second fret por medio (key of B). This excellent version clearly demonstrates the Jerez approach. His handling of the word "momentito" is particulary interesting.
Aayyy aayyy
Madre de mi alma
dígaselo usted
madre de mi alma
dígaselo usted
que tan siquiera
que tan siquiera un momentito al día
que me venga a ver
madre de mis entrañas
dígaselo usted

Joselero (1978). With Diego de Morón. Capo at fifth fret por arriba (key of A).
Aayyy aayyy
qué desgracia es la mía
con quien vine a dar
qué desgracia es la mía
con quien vine a dar
con una hija
con una hija de tan mala madre
harta de rodar
qué desgracia es la mía
hasta en el andar

Tío Borrico (1980?). With Cepero. Capo at first fret por medio (key of B flat).
Aayyy
Dos hermanitos somos
fui el más desgraciado
de dos hermanos que somos
yo el más desgraciado
porque metí mi manita y qué suerte
yo salí soldado
de dos hermanos que semos
yo el más desgraciado

Tío Borrico (1980?). With Cepero. Capo at first fret por medio (key of B flat).
Aaayyy aaayyy
No me hables en tu vida
no me hables más
no me hables en tu vida
no me hables más
que yo he perdido la calor de mis niños
para la eternidad
por favor yo te pido
no me hables más

Joaquín Lacherna

Joaquín Loreto Vargas was born in Jerez in 1843. He was the uncle of Manuel Torre and the alleged creator of an excellent derivative of El Viejo de La Isla. This style normally makes use of what seem to be several characteristics of its matrix: the ascending arpeggio in the first line of verse, the fragmentation and repetition of the eleven-syllable line of verse, and, in some versions (Agujetas, Mairena), a special "rushing" of the words (in essence, this is the drawn-out melodic arc used in the first line of El Viejo de La Isla when there are an excessive number of syllables). Some researchers have attributed to Joaquín Loreto a style classified in this study as Manuel Torre 1.

Tomás Pavón (1928). With Ricardo. Capo at second fret por medio (key of B). In the eighth sung line (tienes), we can hear the way in which the line of verse is "swallowed and projected." Notice the interesting coincidence in the guitar and voice in the fifth sung line, at the word "causas."
Aaaayy aaaaaayyy
Apregonado me tienes
como a un mal ladrón
tú me tienes apregonadito
como a un mal ladrón
mientras más causas
por más matanzas tú le echas a mi cuerpo
más te quiero yo
tú me tienes apregonado
como a un mal ladrón

Manuel Torre (1929). With Borrull hijo. Capo at third fret por medio (key of C). His singing of the eleven-syllable line below is a great example of the utter pathos he injected into verse. The pause between the ninth and tenth sung lines is unusually long.
Aaayyy aaayyy
Contemplarme a mí madre
que no llores más
tú me contemplas a mí madre
que no llores más
porque me dejas
a mí me dejas que me muera rabiando
y en el hospital
tú me contemplas mí madre
que no llores más
que me dejabas que me muera rabiando
y en el hospital
tú me contemplas a mí madre
que no llores más

Manuel Torre (1929). With Borrull hijo. Capo at first fret por medio (key of B flat, actual pitch between B flat and B). The third sung line uses the diatonic approach of Francisco La Perla 2 ("primito de"), and the next-to-last sung line includes the "rushing" of El Viejo de La Isla. Compare this to the slightly different kind of "rushing" heard in the recordings of Agujetas and Mairena.
Aaauyyy aaayyy
El alma se me había arrancado
me se arrancó el alma
primito de mi cuerpo
me se arrancó el alma
cuando la vi que con pena lloraba
la madre (de) mi alma
cuando la vi que con pena lloraba
la madre (de) mi alma

Aurelio (1929). With Ramón Montoya. Capo at third fret por medio (key of C). The first line is sung the first time in the style of Francisco La Perla 2, but, when it is repeated in the third sung line, we can clearly hear the ascending arpeggio (Aurelio jumps to the seventh scale degree).
Aaayy aaayyay
Qué solito me encuentro
qué solo me hallo
yo me encuentro solito
qué solo me hallo
con la calor de mi niña de mi alma
me voy consolando
yo me encuentro solito
qué solo me hallo

José Cepero (1930). With Ramón Montoya. Capo at first fret por medio (key of B flat). This version features some details of Paco La Luz 1.
Aaaayy aaayyayy
Rabiando te mueres
sin apelación
has de morirte rabiando
sin apelación
has de buscarme
tú vas a buscarme por los suelos y en rodillas
pidiendo el perdón
tu te mueres rabiando
sin apelación

Manolo Caracol (1958). With Melchor. Capo at second fret por medio (key of B).
Aaayyy aaay aaaayyy
Contemplarme a mi madre
que no llores más
tú me contemplas yo a mi madre
que no llores más
qué loco muero
yo muero loco sin el calor de mis niños
y en el hospital
contemplarme yo mi madre
que no llores más

Agujetas El Viejo (1971). With Félix de Utrera. Without capo por medio (key of A). This version includes several curious features: Agujetas starts the first line at the fifth and sixth degrees (as heard in the first half of the eleven-syllable line of many derivatives, and not using the ascending arpeggio heard in other recordings of this derivative). The repetition of the first line (third sung line) uses a special "rushing" of the words, possibly based on the drawn-out melodic arc of El Viejo de La Isla over an excessive number of syllables. This is repeated in the next-to-last sung line.
Aaaay ay
Ahora sí que yo a ti te llamo
con duquelas grandes
ahora sí que yo a ti te llamo
con fatigas grandes
porque me encuentro
porque me veo en mi casa solo
sin calor de nadie
ahora sí que yo a ti te llamo
con fatigas grandes

Antonio Mairena (1973). With Melchor. Capo at third fret (key of C, actual pitch between B and C). In this version, we can clearly hear how Mairena "swallows and projects" the first line in the first, third, and eighth sung lines. Mairena also makes use of the special "rushing" heard in the above version by Agujetas.
Aaaayyyyy aaaayyyy
A la muerte yo llamo
y no quiere venir
yo estoy llamando la muerte
y no quiere venir
que hasta la muerte
que hasta la muerte tiene compañera
lastima de mi
a la muerte yo estoy llamando
y no quiere venir

Diego El Marrurro

Recent investigation suggests that he was the brother of another Jerez singer known as Antonio Monge "El Marrurro," and is thought to have been born around 1850 (in an interview with Juan de La Plata, Javier Molina recalled having played for "los hermanos Marrurro"). This is a well-known Jerez style based on El Viejo de La Isla. The initial vocalization is a bit different, with more emphasis placed on the sixth degree. Notice the microtonal descent in the earliest versions, occurring in the first and third sung lines of verse, and absent from today's versions. Tía Anica did not include this feature in any of her many versions of this derivative. Perhaps the microtonal descent was developed in Seville. Antonio Mairena redefined this style with his 1959 recording and subsequent versions.

Chacón (1913). With Ramón Montoya. Capo at fifth fret por medio (key of D). The microtonal descent is only briefly heard in the first sung line ("supiera").
Aaaaayy aaayy
Si yo supiera de la lengua lengua
que de mi murmura
si yo supiera de la lengua
que de mi murmura
yo la cortara
yo la cortara por el medio en medio la lengua y
la dejara muda
y yo cortara la lengua por el medio en medio y
la dejara muda

José Cepero (1926). With Ramón Montoya. Capo at second fret por medio (key of B). There is a very slight microtonal descent in the sixth sung line ("de").
Aay aayyy
Con la Virgen del Carmen
yo estoy enfadado
con la Virgen del Carmen
yo estoy enfadado
que le he pedido
yo le he pedido la salud de mi madre
no me la ha otorgado
que le he pedido la salud de mi madre
no me la ha otorgado

Pastora Pavón (1928). With Ricardo. Capo at fifth fret por medio (key of D). The microtonal descent is heard in the sixth ("ma-") and eighth ("-nes") sung lines of verse. Her quarter-tone flattening of the word "tienes" in the third sung line is astounding.
Aaayyy aayyy
Tú no tienes la culpa
ni yo a ti te culpo
tú no tienes la culpa
ni yo a ti te culpo
te lo alevantan
tienen la culpa estas malas lenguas
que andan por el mundo
tú no tienes la culpa
ni yo a ti te culpo

El Gloria (1929). With Manolo de Badajoz. Capo at sixth fret por medio (key of D sharp). The microtonal descent is heard in the first ("a") and third ("de") sung lines. The next-to-last sung line includes the "rushing" of El Viejo de La Isla. Interestingly, he ends the lines of verse with an "ay," as do Tía Anica and Mairena.
Aay
Siéntate tú a mi vera ay
siéntate a mi vera
hermano de mi alma ay
siéntate tú a mi vera
que con tu aliento hermana de mi alma
y quizás yo no muera
que con tu aliento hermana de mi alma
y quizás yo no muera

Manuel Vallejo (1932). With Niño Pérez. Capo at sixth fret por medio (key of D sharp). The microtonal descent is heard in the first sung line ("me") and the second half of the eleven-syllable line. The next-to-last sung line starts with the fourth scale degree, as heard in Francisco La Perla 2. In another recording Vallejo made two years earlier with Ramón Montoya, he does not include the microtonal descent.
Aaaaayy aaaaayy aayy
No llamarme al médico
llámame al doctor
no llamarme al médico
llámame al doctor
cada vez que veo en mi casita al médico
me pongo peor
no llamarme al médico
llámame al doctor

Pepe El Culata (1958). With Perico del Lunar padre. Capo at fifth fret por medio (key of D).
Aaaaaauyy aaayy aaayy
Cuando yo me muero
¿qué va a ser de ti?
compañera de mi alma
¿qué va a ser de ti?
cuando te veas
cuando te veas tú estás desamparadita ay
sin calor de mí
compañera de mi alma
¿qué va a ser de ti?

Antonio Mairena (1959). With Melchor. Capo at second fret por medio (key of B). With this and subsequent versions, Mairena redefined this style. The mounting tension heard before the vocalization that ends the first line of verse is very similar to a version of El Viejo de La Isla recorded by El Niño de La Isla.
Aayyyyyu aayyyyy
Si esta pena mía ay ay
mucho me durare
si esta pena mía ay ay
mucho me durare
muchas murallas
muchas murallas que hubiera en el mundo ay ay
yo las derribare
si esta pena mía ay ay
mucho me durare

Tía Anica (1962). With Parrilla de Jerez. Capo at third fret por medio (key of C). This version is closer to the style of Tío José de Paula (vocalization and melody).
Ayyyyy aayyyyy
Y qué desgracia es la mía ay
hasta en el andar
qué desgracia es la mía ay
hasta en el andar
que estos los pasos que para adelante yo doy ay
se me vienen atrás
pero los pasitos que yo doy por adelante
me se vienen atrás
qué desgracia es la mía ay
y hasta en el andar

Tía Anica (1962). With Parrilla de Jerez. Capo at third fret por medio (key of C). In the third and seventh sung lines, notice how she skillfully sets up the abrupt drop in the melody (in "cosita" and "yo te") with modulation instead of the strong sustained note heard in other versions. The next-to-last sung line makes use of the "rushing" of El Viejo de La Isla.
Aaay
Como una cosa mía ay
te he mirado yo
como cosita mía
te he mirado yo
pero quererte como yo te quería ay
ya eso se acabó
pero quererte como yo te quería
se me acabó

Tía Anica (1971). With Pedro Peña. Without capo por medio (key of A). This is nearly identical to the previous version from nine years earlier.
Aaay aayyy
Dios mío librarme ay ay
Dios mío librarme
Dios mío librarme
Dios mío librarme
como me libra de una malita lengua ay
y de un mal incurable
como me libra de una malita lengua ay
de un mal incurable

Antonio Mairena (1972). With Melchor. Capo at second fret por medio (key of B, actual pitch between B and C).
Aaayy
Hijo de mis entrañas ay ay
y de mi corazón
hijo de mis entrañas ay ay ay
y de mi corazón
como te acuestas
como te acuestas te acuestas llorando ay ay ay
me acostaba yo
hijo de mis entrañas ay ay
de mi corazón

Frijones

Ramón Medrano (1971). With Félix de Utrera. Capo at first fret por medio (key of B flat).
Santolio le den
Santolio le den
y a este mal escribano
hastaíto papel, pluma y tintero
aaaaaayayayyu yyyu para sentenciar mi hermano
santolio le den
y a este mal escribano

Ramón Medrano (1971). With Félix de Utrera. Capo at first fret por medio (key of B flat).
Ay la familia la llora
Valencia no calle
Valencia no calle
Valencia no calle
que los ojitos de tu hermanita
aaaaaaaoooyyyaoyy ya no ven a nadie
los ojitos de tu hermanita
auyyy no aaayyyayy ya no ven a nadie

Tío José de Paula

José María Sebastián Soto Vega was born in Jerez in 1871 and died in 1955. This derivative of Paco La Luz 1 further distills the essence of the cante of El Viejo de La Isla. This style is considered to be the most representative of Jerez siguiriyas. The melodic arc is so short and compact that the singing in this style has often been likened to talking. This may be one of the most recently created styles of siguiriyas.

Juan Mojama (1929). With Ramón Montoya. Capo at fifth fret por medio (key of D).
Aaaaayy aaayyy
No terelo una puerta
adonde llamar
yo no terelo una puerta
adonde llamar
yo no tenía nada más que la tuya
la encuentro cerrada
no terelo yo una puerta
adonde llamar

Tía Anica (1959). With Juan Moreno. Capo at fourth fret por medio (key of C sharp). This version has more sung lines than is habitual for the style.
Ayy ayyy
Como una cosa mía
te he (mirado) yo
te he mirado yo
te he mirado yo
pero quererte como yo a ti te quería
ya eso se acabó
pero quererte como yo te quería
ya eso se acabó
como cosita mía
te he mirado yo

Tomás Torre (1962). With Eduardo el de La Malena. Capo at fourth fret por arriba (key of G sharp).
Aayyy aayyy
Dónde vino a dar
dónde vino a dar
mi desgracia es muy grande
dónde vino a dar
en una hija
en una hija con tan mala madre
harta de rodar
desgracia es muy grande (dón)de vino
dónde vino a dar

Tía Anica (1962). With Parrilla de Jerez. Capo at third fret por medio (key of C, actual pitch between C and C sharp). This version has more sung lines than is habitual for the style.
Ayyyy
Como sé que contigo
ayyyy
y como sé que contigo ay
no me voy a lograr
no me voy a lograr
no me voy a lograr
así mis penas quieren venir para menos ay
siempre van a más
así mis fatigas siempre van a menos
nunca van a más
como yo sé que contigo ay
no me voy a lograr

Tía Anica (1962). With Parrilla de Jerez. Capo at third fret por medio (key of C, actual pitch between C and C sharp). This version includes details from the cante of El Marrurro.
Ayyy
Y siente tú mi fatiga
ayyyy
y siente tú mi fatiga
siente tú mis penas
tú sientes mi fatiga
siente tú mis penas
que yo también
que yo también voy a sentir las tuyas ay
cuando tú las tengas
tú siente mis fatigas
tú siente mis penas

Tía Anica (1971). With Pedro Peña. Without capo por medio (key of A). The repetition of the ending is sung in the style of El Viejo de La Isla. This version includes details from the cante of El Marrurro.
Ayyy
¿Por qué me pregonabas?
ayyyyy
apregonado me tienes
como a un mal ladrón
¿por qué me pregonabas
como a un mal ladrón?
contra más causas tú a mi cuerpo le echaras ay
más te quiero yo
contra más causas tú le eches a mi cuerpo
más te quiero yo

Tía Anica (1971). With Pedro Peña. Without capo por medio (key of A). The repetition of the ending is sung in the style of El Viejo de La Isla.
Aaayyy
Qué desgracia esta mía
hasta en el andar
qué desgracia es la mía ay
y hasta en el andar
que estos los pasos que yo daba para (ade)lante ay
me se vienen atrás
los pasitos que yo para adelante doy ay
me se vienen atrás

Agujetas El Viejo (1975?). With Rafael Alarcón. Capo at first fret por medio (key of B flat).
Aaayyy
Yo bien sé que muero
yo bien sé que muero
compañera mía
yo bien sé que muero
pero el consuelo que llevo a la tierra
que tú mueres primero
pero el consuelo que llevo a la tierra
que tú mueres primero

Agujetas El Viejo (1975?). With Rafael Alarcón. Capo at first fret por medio (key of B flat).
Aaayyy
Dios mío ¿qué es esto
que me está pasando?
Dios mío ¿qué es esto
que me está pasando?
se me ha liado una cuerda al cuello
que me está ahogando
se me ha liado una cuerda al cuello
que me está ahogando

Agujetas El Viejo (1975). With Rafael Alarcón. Capo at first fret por medio (key of B flat).
Aayyy
Como cosa mía
te he mirado yo
como cosa mía
te he mirado yo
pero quererte como te quería
eso se acabó
pero quererte como te quería
eso se acabó

Tía Anica (1977). With Diego Carrasco. Capo at third fret por medio (key of C).
Ayyy
Que no caben más
que no caben más
qué pena es la mía
que no caben más
me muero solo solito rabiando
en un hospital
qué fatigas más grandes aayu
y que no caben más

Manuel Torre 1

Styles 2 and 3 attributed to this singer correspond to Cádiz and Los Puertos, respectively. This cante and Manuel Molina 1 (on which this style is based) have been recorded more than any other siguiriya. It is thought that Torre developed a shortened version of Manuel Molina 1 that his uncle Joaquín Loreto Vargas sang. Accordingly, some researchers have attributed this style to Joaquín Lacherna. However, Luis and Ramón Soler suspect that Torre took to its full potential the cante that his uncle had started. This four-line style is nearly always used to start a series of siguiriyas. Like Manuel Molina 1, none of the lines of verse are linked. In the eight recordings that Torre made of this style between 1922 and 1931, we can see that the lines of verse are not normally repeated, nor is the eleven-syllable line normally fragmented. However, several of these recordings include variations like the repetition of the first line (one version in 1929), the fragmentation of the eleven-syllable line (two versions in 1929; all of Antonio Mairena's versions include this feature), and the repetition of the third and fourth line to conclude the cante (one version in 1922). All of these features can be found in recordings of the many artists that have sung this style, particularly the repetition of the third and fourth lines of verse to conclude the cante.

Manuel Torre (1922). With El Hijo de Salvador. Capo at seventh fret por arriba (key of B).
(Siem)pre por los rincones
te veo llorando
que yo no tenga libertad en mi vida
si te doy mal pago

Manuel Torre (1922). With El Hijo de Salvador. Capo at seventh fret por arriba (key of B). In this version, Torre lengthens the tercios and repeats the third and fourth lines to conclude the cante.
Grandes eran mis penas
que no caben más
y yo me muero sin calor de nadie
y en el hospital
estoy muriendo sin calor de nadie
que en el hospital

Tomás Pavón (1928). With Ricardo. Capo at first fret por medio (key of B flat, actual pitch between B flat and B). Tomás repeats the first line, as well as the third and fourth lines to conclude the cante.
Te se logró a ti el gusto
te se logró el gusto
yo voy a vestir
yo voy a vestir a mi corazón
de negrito luto
yo voy a vestir a mi corazón
de negrito luto

Juan Mojama (1929). With Ramón Montoya. Capo at fifth fret por medio (key of D). The use of three-line verse is unusual for this style (in the corpus of recordings studied, only Aurelio and Mojama recorded three-line verse for this cante), and causes the equally unusual repetition of the first line: The first sung line is isolated, as seen in Torre's 1929 recording and those of many other artists, but the third sung line repeats again the first line of verse before going on to the rest of the melody.
Tanto he dormido
que tanto he dormido
que tanto he dormido
se han llevado a mi madre de mi alma
yo no lo he sentido

Manuel Torre (1929). With Borrull hijo. Capo at first fret por medio (key of B flat). Torre fragments the eleven-syllable line.
Siempre por los rincones
te veo llorando
que yo no tenga
que yo no tenga libertad en mi vida
si te doy mal pago

Manuel Torre (1931). With Javier Molina. Capo at second fret por medio (key of B, actual pitch between B and C).
A clavito y canelita
me hueles tú a mí
el que no huele a clavito y canelita
no sabe distinguir

Pastora Pavón (1948). With Melchor. Capo at sixth fret por medio (key of D sharp).
Se te logró a ti el gusto
Se te logró el gusto
Yo voy a vestir a mi corazón
de un negrito luto

Francisco Mairena (1962). With Eduardo el de La Malena. Capo at second fret por medio (key of B). Mairena repeats the third and fourth lines.
Con qué dobles fatigas
yo le pido a Dios
que aliviara las que tiene mi madre
de (mi) corazón
que aliviara las que tiene mi madre
y en su corazón

Pastora Pavón

Pastora Pavón Cruz was born in Seville in 1890 and died in 1969. This style seems to be her recreation of Paco La Luz 1. Notice the continuous rise and fall in the melodic lines.

Pastora Pavón (1950). With Melchor. Capo at fifth fret por medio (key of D).
Ayyyyy
Ya llegó la hora madre
la horita llegó
ya había llegado la hora primo
la horita llegó
que me apartara
que me apartara de la vera tuya madre
sin apelación
ya había llegado la horita madre
la horita llegó

Antonio Mairena (1969). With Melchor. Capo at third fret por medio (key of C). Mairena recorded this in the year of Pastora's death on a recording titled "Honores a La Niña de los Peines."
Aaaayyy aayyy
Madre de mi alma madre
la vida yo diera
madre de mi alma madre
la vida yo diera
por yo pasar
por yo pasar una noche al ladito madre
de mi compañera
madre de mi alma madre
la vida yo diera

Antonio Mairena 1

Styles 2, 3 and 4 attributed to this singer correspond to Los Puertos. Antonio Cruz García was born in Mairena del Alcor in 1909 and died in 1983. Luis and Ramón Soler consider this style to be Mairena's recreation of the cante they attribute to Joaquín Lacherna. In the liner notes of his 1967 recording of this style, Mairena attributed this to the versions that Tomás Pavón and Manuel Torre sang of a style he attributed to Joaquín Lacherna. Notice that all the versions have the "excessively long" first line of verse and the high-register "rushing" of Joaquín Lacherna.

Antonio Mairena (1965). With Melchor. Capo at third fret por medio (key of C, actual pitch between C and C sharp).
Aayy
Si algún día yo a ti te llamara y
y tú no vinieras
si algún día yo a ti te llamara
y tú no vinieras
la muerte amarga compañerita mía
yo la apeteciera
si algún día yo a ti te llamara
y tú no vinieras

Antonio Mairena (1967). With Ricardo. Capo at second fret por medio (key of B, actual pitch between B and C).
Aayy
Ven acá hermano mío de mi alma y
siéntate a mi vera
ven acá hermano mío de mi alma y
siéntate a mi vera
que con tu aliento hermano mío de mi alma
quizás que no muera
ven acá hermano mío de mi alma y
siéntate a mi vera

Agujetas El Viejo (1975?). With Rafael Alarcón. Capo at first fret por medio (key of B flat).
Aaaaayy
Si algún día yo a ti te llamara
y tú no vinieras
si algún día yo a ti te llamara
y tú no vinieras
la muerte amarga compañerita de mi alma
yo la apeteciera
si algún día yo a ti te llamara
y tú no vinieras

Siguiriyas of Los Puertos

Los Puertos is an area including the towns of San Fernando, Puerto Real, Puerto de Santa María and Sanlúcar de Barrameda. This group of styles is by far the most numerous (35 styles, followed by Jerez, with 11) and features several peculiar characteristics. Along with the siguiriyas of Triana, they are perhaps the oldest and most archaic. The oldest siguiriyas from this area retain certain characteristics of tonás. The styles of several singers led to the creation of similar styles or exerted considerable influence on other siguiriyas. These seminal styles are attributed to El Planeta, El Fillo, Curro Durse and María Borrico, and are responsible for a good number of other styles of this area. In general, the styles of Los Puertos are characterized by their lengthened and rarely repeated lines of verse. Some siguiriyas of Los Puertos end with a dramatic and characteristic ascending melodic line that reaches the fifth degree (Perico Frascola, versions of Medrano; Diego El Lebrijano; El Nitri 3, Luis el del Cepillo, and Juanichi El Manijero) or hits the fourth degree on the first syllable of the last sung line (El Planeta, El Fillo 1 y 2, and Paco La Luz 2). Many siguiriyas cabales can be traced back to this area, such as the styles of El Planeta, El Fillo 2 and 3, Manuel Molina 3 and Loco Mateo 3. Other styles feature characteristics of cabales (El Tuerto de La Peña, Miguel el de Pepa 2, Bochoque and some versions of Juanichi El Manijero) or the liviana (Juanelo, Diego El Lebrijano, El Nitri 3 and Los Puertos anonymous 1).

El Planeta (cabal)

Few actual facts are known about this early singer. It is thought that his name could have been Antonio Fernández, and that he might have been born in Cádiz toward the end of the 18th century. Pepe Torre's recording recovered this cante from certain oblivion. There are similarities between this style, El Fillo 2 and Silverio 3.

Pepe Torre (1959). With Melchor. Capo at fourth fret por medio (key of C sharp). Notice his Phrygian incursion in the word "alto."
Aaa aaaa aay
A la luna aaa
a la luna le pido
la del alto cielo
de que me ponga
que a mi me ponga mi padre en la calle
que me lo camel(o)

Rafael Romero (1968). With Antonio Arenas. Capo at fourth fret por medio (key of C sharp).
Aayyyyyy
A la luna le pido
la del alto cielo
para que me ponga a mi padre en la calle
que bien lo camelo

Rafael Romero (1969). With Sabicas. Capo at fifth fret por medio (key of D).
Aayyyyy
Moritos
moritos a caballo
cristianos a pie
como ganaron la casita santa
de Jerusalén

El Fillo 1

It is thought that Francisco Ortega Vargas was born in Puerto Real around 1810 and died in 1878. Antonio Mairena reconstructed this style from unknown sources ("una vieja gitana," according to Fernando Quiñones). It features some of the characteristics heard in the styles of Frasco El Colorao, Enrique El Mellizo 2 and Curro Durse 2. The fragmentation and repetition of the third line of verse (the eleven-syllable line) is not a common feature of the styles of Los Puertos. The verse used for Mairena's first version of this style portrays the alleged murder of El Fillo's brother, Juan Encueros. Demófilo wrote that the singer Juanelo had attributed to El Fillo a verse of a similar nature: "Mataron a mi hermano / de mi corazón / y los chorreles que le han quedaíto / los mantengo yo."

Antonio Mairena (1964). With Melchor. Capo at third fret por medio (key of C). This is the first recording to appear of this style.
Mataste a mi hermano
ayy yyy yyy yyyyyy no te he perdonado
tú lo has matado
tú lo mataste liadito en su capa
sin hacerte nada

Antonio Mairena (1976). With Enrique de Melchor. Capo at second fret por medio (key of B).
Prendieron a mi hermano
aayy yyyyy yy yyyyyy una madrugada
como le pido
como le ruego a Undebel de los cielos
por su libertad

El Fillo 2 (cabal)

In the past, this style has been attributed to Paco La Luz, possibly because Juan Talega recorded it as the third of three siguiriyas in a 1962 recording titled "Siguiriyas de Paco La Luz y Manuel Cagancho." In said recording, the first two cantes correspond to Paco La Luz 1 and Manuel Cagancho, respectively, but the third resembles neither style. Although it is possible that Paco La Luz sang this style of siguiriya, Luis and Ramón Soler have set forth several reasons to suspect that it was created or redefined by El Fillo:

It is a long and drawn-out cante, as opposed to the shorter and more aggressive Jerez styles.
Jerez styles normally make use of vocalization and melismas, and are sung repeating lines of verse, unlike this style.
This style features the major-sounding harmonies of the siguiriya cabal, which are more closely associated with styles of Los Puertos and Triana, rather than those of Jerez and Cádiz.
According to the research of Luis Suárez Ávila, El Fillo had two brothers named Juan (Juan Encueros) and Francisco de Paula (Curro Pabla) and a sister named Alejandra (Demófilo also stated that El Fillo had brothers named Juan Encueros and Curro Pabla). The name Alejandra does not seem to exist in the family tree of Paco La Luz, but is fairly common in that of El Fillo. The verse sung by Juan Talega may tell the story, then, of an episode in the life of El Fillo (Talega substitutes "mi hermano Curro" for "mi primo el gallego").
The aforementioned verse can also be associated with that of the soleá attributed to El Fillo and recorded by Juan Breva and Naranjito de Triana: "Si no fuera por mi hermano / me hubiera muerto de hambre / nunca le faltó a mi hermano / cachito de pan que darme."

There are similarities between this cante and the siguiriyas cabales El Planeta and Silverio 3. It is thought that this style reached Juan Talega through the chain of transmission El Fillo-El Nitri-Agustín Talega-Juan Talega.

Antonio Mairena (1959). With Manuel Morao. Capo at second fret por medio (key of B).
Ay de las huertas de Murcia
yo vengo señores
y así le traigo a la madre de mi alma
ramitos de flores

Juan Talega (1962). With Eduardo el de La Malena. Capo at fourth fret por arriba (key of G sharp). The guitar does not include the "cabales" chording heard in the other versions.
Mi hermana la Alejandra
a la calle me echó
Dios se lo pague a primo el gallego
que me arrecogió

Tía Anica (1962). With Parrilla. Capo at third fret por medio (key of C, actual pitch between C and C sharp). This version does not seem to include the cabales air.
Ay
Dios mío librarme
Dios mío librarme
(co)mo me libra de una mala lengua
ayyyy y de un mal incurable

Antonio Mairena (1983). With Pedro Peña. Capo at second fret por medio (key of B). This is the last siguiriya recorded by Antonio Mairena, at 74 years of age.
Pasen y lo verán
pasen y lo verán
que el oro fino no ha perdido su brillo
ni lo perderá

El Fillo 3 (cabal)

This style of siguiriya cabal has been recorded only a few times throughout history. It is similar in some aspects to Manuel Molina 3.

Rubia de las Perlas (1914). With (Luis Molina ?). As explained in this singer's version of El Viejo de La Isla, this sample has been slowed down by three semitones. Notice her bitter Phrygian incursion in the first syllable of the word "puerta," flattening the sixth degree of the major scale.
Y salí por la puerta
y salí por la puerta
salí renegando cuantos santitos tiene
el cielo y la tierra
(salí renegando) cuantos santitos tiene
el cielo y la tierra

José Menese (1962). With Perico del Lunar. Capo at third fret por medio (key of C). Although this does not sound exactly the same as the version recorded by Rubia de las Perlas (the guitar does not include the cabales chording), Menese clearly based his recovery of this forgotten style on said recording. Notice his perfect handling of the flattened sixth degree in the word "puerta." Luis and Ramón Soler attribute this style to El Fillo based on Menese's attribution and the characteristic features of Los Puertos (air of cabal, breakneck approach and soaring melody).
Y salí por la puerta
y salí por la puerta
salí renegando de cuantos santitos tiene
el cielo y la tierra

Curro Durse 1

Francisco Fernández was born in Cádiz around 1825. He was a friend of Frasco El Colorao and Manuel Molina. This cante has been recorded throughout history using several different structures, and Manuel Vallejo even set it to bulerías. This style is similar to that of El Nitri 1, and, to a lesser degree Loco Mateo 1 and Manuel Molina 2.

Juan Varea (1944). With Ricardo. Capo at third fret por medio (key of C).
Redoblaron las campanas señores
aaaayyyy aaaayyyyyy que de san Juan de Dios
habían redoblado por mi madre (de) mi alma aaaayyy aaaayyy
y que de mi corazón

Antonio Mairena (1954). With Manuel Morao. Capo at third fret por medio (key of C).
Dicen que duermes
aay dicen que duermes sola
aaauyyy yyyu yyyy y sola mienten como hay Dios
porque de noche
aay porque de noche con el pensamiento
aaa yy con el pensamiento
dormimos los dos

Manolo Caracol (1962). With Arturo Pavón (piano). Key of A. This beautiful version features piano accompaniment.
Han redoblado
han redoblado campanas señores
aaaayyyy aaaayy ay ayy ay ay que de san Juan de Dios
cómo han redoblado
han redobladito por mi madre de mi alma
de mi corazón

Curro Durse 2

Notice the characteristic major-sounding III chord (C major without capo por medio). It is thought that this cante is the result of the way that Curro Durse sung the cante of Frasco El Colorao. It retains several characteristics that closely associate it with the Triana style. These characteristics changed over time, eventually leading to the style Curro Durse 3. Style 2, then, seems to be an intermediate stage.

Isabelita de Jerez (1930). With Manolo de Badajoz. Capo at seventh fret por medio (key of E). The vocalization that begins this version is normally used in style 3 of Curro Durse.
Aayyyaayyyaaayyy
Salí de La Breña ayayay
me metí en San Pablo
voy a rezarle
como le rezo y a mi madre de mi alma aaayyaayyyaay
a mi madre de mi alma
y parte del Rosario

El Carbonerillo (1932). With Ricardo. Capo at third fret por medio (key of C).
Ay
Esos dientes blancos
esos ojos negros
se parecía a la Virgen del Valle
la que está en San Telmo

Curro Durse 3

This style apparently influenced Torre's famous siguiriya "Santiago y Santa Ana" (Manuel Torre 3). Like Curro Durse 2, it also makes use of the major-sounding III chord. Luis and Ramón Soler state that this style may have been a further development of Curro Durse 2, which, in turn, is based on Frasco El Colorao. The vocalization heard before and during the cante is one of its characteristics. The melody of the third line is similar to other styles from Los Puertos, like El Fillo 2, Enrique El Mellizo 2 and Miguel el de Pepa 1.

Chacón (1928). With Ramón Montoya. Capo at sixth fret por medio (key of D sharp).
Ayyyaaay
Y era una madrugada
de Santiago y santa Ana aay
santa Ana aayaayyy yyyy yyyyy
a eso de la una
las fatiguitas grandes diñaron yay
a mi madre Curra

Chacón (1928). With Perico del Lunar padre. Capo at eighth fret por medio (key of C).
Ayyy aaay
Y a las dos de la noche ay
ayaaayyy yyyy yyyy
los campanilleros
con el ruido de las campanitas ay
me quitan el sueño

Manolo Caracol (1945). With Paco Aguilera. Capo at first fret por medio (key of B flat). He starts the last line (de) with the fourth degree, characteristic of styles from Los Puertos. The third line is unusually short.
Aaay aayyyyaaay
Y a la medianoche aaay
aayyy aayyyy
y se la llevó Dios
y a la niña de mi alma aaay
de mi corazón

Manuel Molina 3 (cabal)

Although it is not apparent in either sample, this is a major-sounding cabal style that may have been the origin of Manuel Molina 2. It is normally interpreted with three lines of verse linked together, without fragmenting the longer second line. There are some similarities between this cante and Loco Mateo 3, which it may have influenced.

Manuel Cagancho (189?). With El Niño de Carmen.
Aaaaa ayy
Qué remedio habrá
para dos personas que se quieren mucho
y no se pueden hablar
para dos personas que se quieren mucho
y no se pueden hablar

Pepe Matrona (1969). With Manolo El Sevillano. Without capo por medio (key of A). The guitar does not include the cabales chording.
Aaayyyaaayyyayy ayyy
(D)esperté y la ví
por si estaba soñando conmigo ay
la dejé dormir

Juanelo

Although this Jerez-born singer supplied much of the information in Demófilo's famous book, his name is not known. However, based on references in said book, it seems logical to calculate the date of his birth at around 1825. Luis and Ramón Soler have attributed this style to Juanelo, although they point out that we can not know the exact nature of his siguiriya. The first two sung lines of the style are very similar to the liviana and, to a lesser degree, to El Nitri 1. This similarity to the liviana is also heard in Pepe el de La Matrona's rendition of Los Puertos anonymous 1. As occurs in several other cases, Mairena was the only one to record this style, and it is difficult to determine how much he recovered and how much he recreated.

Antonio Mairena (1965). With Melchor. Capo at sixth fret por arriba (key of B flat).
Cuando a ti te apartaron
de la verita mía
a mi me daban tacitas de caldo
y no las quería

El Porío

Although practically nothing is known about this singer, it is thought that he might have been born around 1825. The researcher Luis Suárez Ávila attributes this style to El Porío. Although other researchers have attributed it to Perico Frascola, it seems that this singer frequently sang the style created by El Porío. As is the case with several cantes from Los Puertos, the only artist born up to 1920 to record this style was Ramón Medrano, who learned it from Félix Serrano Medrano, who, in this case, learned it from Perico Frascola. Luis and Ramón Soler point out that this cante shares characteristics of the tonás of Los Puertos and the oldest styles of siguiriyas.

Ramón Medrano (1971).
¿De quién son estas retamas?
son de los frailes no son
de los frailes no son madre
de la ley cristiana

María Borrico

María Fernández Fernández, the older sister of Pedro Fernández, "El Viejo de La Isla," is thought to be the creator of this style, which has been described as a link between the older and more modern styles of siguiriyas. She was born in San Fernando in 1830, and was baptized with the lengthy first name of María de Montemayor de todos los Santos. The styles of Perico Frascola and Juan Junquera are closely associated with this cante. Traditionally, it has been used to finish off serranas and is interpreted with four lines of verse that are linked but not normally repeated. The melody soars up to the seventh degree or even to the tonic and goes on to modulate between the fourth and sixth degrees, implying the minor IV chord. Notice the pause in the eleven-syllable line.

Manuel Vallejo (1932). With Niño Pérez. Capo at fifth fret por medio (key of D). This is the first known recording of this style. Notice how the seventh degree is the predominant note in the beginning, pushing up to the tonic for only a moment in the second line of verse (que yo). The first syllable of the last sung line sustains a strong high note, characteristic of Los Puertos, but, in this case, is the sixth scale degree (rather than the fourth).
Aaayy aaayyy
Dice mi compañera aaayyy aayyy
que yo no la quiero
cuando la tengo la tengo delante
que el sentido pierdo

Rafael Romero (1967). With Antonio Arenas. Capo at fourth fret por arriba (key of G sharp). This version contains some of the features seen above, but goes all the way to the tonic in the first line.
Señor cirujanito oooo ooooo
desengáñeme usted
si estos tres niños se quedan sin su padre
lo quiero saber

Antonio Mairena (1972). With Melchor. Capo at fifth fret por arriba (key of A). Like the previous version, Mairena pushes up to the tonic, but drops to the seventh degree very briefly at the end of the first line (the "a" of "mía"). His handling of the third line of verse differs from the above versions, and seems to resemble his version of Juan Junquera. He concludes the cante with a much shorter fourth line than Vallejo or Romero.
Compañera mía aayyy aayyyy
y yo no sé qué tiene
la hierbabuena de tu huertecito ayyy aaayyuy
que tan bien me huele

Perico Frascola

Pedro Serrano Carrasco was born in Sanlúcar de Barrameda in 1833 and died in 1915. This style is very closely associated with that of María Borrico. The only singers born up to 1920 to record this style were Ramón Medrano and Antonio Mairena, which limits any kind of analysis. This cante was transmitted by Pedro Serrano to a singer named Félix Serrano Medrano (born in 1879 and also known as Félix El Carnicero, Félix el de La Culqueja, Potajón, or Félix de Sanlúcar), and on to Ramón Medrano, who was the last surviving guardian of the ancient singing styles existing in Sanlúcar de Barrameda. In the versions of Ramón Medrano, notice the ascending melody at the beginning of the last sung line. This is very similar to a characteristic ending of other styles of Los Puertos, like Diego El Lebrijano, El Nitri 3, Luis el del Cepillo and Juanichi El Manijero.

Ramón Medrano (1971).
(Fran)quito
franquito y era libre ay
aaay aaaay me cautivé
con una morita turca turquita y fea
cumpliendo con Undebel

Ramón Medrano (1971).
Los canastitos salgan
aayyy aayyy ayyyayyyyyaaaaauyyy
de San Juan de Dios
limosna a Riego el entierro cogerle
y va de por Dios

Antonio Mairena (1973). With Melchor de Marchena. Capo at second fret por medio (key of B). Notice the pause in the second line between "san Juan" and "de Dios," absent in Mairena's other recording of this style, seen below. Both of his versions are similar to those of the style attributed to Juan Junquera.
Salgan los santitos
ay aaayyyy y
de san Juan de Dios
a pedir limosna para el entierro de Riego
que va de por Dios

Antonio Mairena (1976). With Enrique de Melchor. Capo at second fret por medio (key of B). This does not include the vocalization or pause observed in the above version.
Horas de alegría
son las que se van
que las de pena se quedan y duran
y una eternidad

El Tuerto de La Peña

Practically nothing is known about this singer. Although this style has also been called "Ciego de la Peña," this appears to be the result of some confusion. According to the researcher Luis Suárez Ávila, the author of this style was born in Sanlúcar de Barrameda in an area known as La Peña del Águila. Pastora Pavón is credited with saving this style from oblivion with her 1950 recording. At the fourth syllable of the third verse, the cante takes on the major-sounding cabales air.

Pastora (1950). With Melchor. Capo at fifth fret por medio (key of D).
Y de Sanlúcar a El Palmar
han hecho carril
que lo habían hecho La Mica y El Mico
del ir y venir

Antonio Mairena (1966). With Ricardo. Capo at second fret por medio (key of B). This version is not an exact copy of Pastora's, as the first line is similar to that of the liviana.
Toditos los faluchos
entran en bahía
tan solamente dónde viene mi madre
entrar no podía

Antonio Mairena (1973). With Melchor. Capo at second fret por medio (key of B). This is much closer to Pastora's version. The guitar includes cabales chording from the start.
Soltaron los cabos
del muelle el vapor
y se han llevado a la madre (de) mi alma
de mi corazón

El Loco Mateo 2

Style 1 attributed to this singer corresponds to Jerez. The soaring melody in the first line is very original, and the second line hovers around the tonic as heard in Loco Mateo 1. The third and fourth lines repeat this pattern, creating a kind of symmetry also observed in style 1 attributed to this singer, although it is much more evident here.

Juan Talega (1959). With Manuel Morao. Capo at third fret por arriba (key of G).
Oleaditas madre de la mar
qué fuertes veneis
se os habéis llevado a la madre (de) mi alma
y no me la traéis

El Loco Mateo 3 (cabal)

There are only five recordings of this style by singers born up to 1920. It shares some characteristics with the cabal Manuel Molina 3, from which it may have received some influence.

El Chaqueta (1954). With Perico del Lunar padre. Capo at fifth fret por medio (key of D).
Aayyy
Y desde La Polverita
y hasta Santiago
las fatiguitas de la muerte madre
me se han rodeado

El Sernita (1967). With Paco de Antequera. Capo at second fret por medio (key of B).
Desde la Polverita
hasta Santiago
las fatigas madre de la muerte
ay que las duquelas madre de la muerte ayyyyyyy
me se arrodearon

Paco La Luz 2

The only singers born up to 1920 to record this style were Antonio Mairena and Juan Talega, the former attributing it to Paco La Luz (the only known attribution for this style), and the latter heard in a recording made at El Espartero with Diego del Gastor. Luis and Ramón Soler suspect that, if Mairena's attribution of this style is correct, Paco La Luz might have learned it from a singer from Los Puertos since it contains several features that are characteristic of the siguiriyas from this area, such as the scarce repetition of lines of verse, the long drawn-out melodic lines, the similarity of the first half of the eleven-syllable line to that of El Fillo 2 and Enrique El Mellizo 2, and the typical strong high note (fourth scale degree) heard in the first syllable of the last sung line ("te"). This style is similar to that of Juanichi El Manijero, and some points in common can be heard in the ending of this style and that of Enrique El Mellizo 2, and in some versions of Curro Durse 3. Talega's version probably served as a model for Mairena and for Perrate's extraordinary recreation of this style.

Antonio Mairena (1959). With Melchor. Capo at fifth fret por medio (key of D). The first sung line uses the second and third scale degrees, and the second sung line uses the third, fourth, and fifth scale degrees. The two halves of the eleven-syllable line also alternate between the upper and lower ranges of the scale.
Dolores
dolorosa mía
en un ladito de mi corazón
te llevo metida

Juan Talega (196?). With Diego del Gastor. Capo at third fret por arriba (key of G). Notice how the melodic pattern detected in Mairena's version appears inverted here, with the third, fourth and fifth scale degrees in the first sung line, a rise to the sixth degree at the "ay" in the second sung line, and a drop to the second and third degrees for the third sung line. The beginning of this version bears a great similarity to Enrique El Mellizo 2.
Dolores
aaayyy Dolores
dolorosa mía
en un ladito de mi corazón
te tengo meti(da)

Juan Junquera

For some time researchers have associated Juan Junquera with a café cantante of the same name in Jerez de la Frontera where many outstanding artists performed toward the end of the 19th century. According to Antonio El Platero, Agujetas El Viejo said that Juan Junquera was a friend of his and that Juan's father Joaquín was the café owner. The melody of this style clearly resembles that of María Borrico, an association that has given rise to an interesting theory. According to oral tradition, Silverio ended his serranas with the siguiriya of María Borrico, and there are supposedly several different references to a Juan Junquera who sang in Silverio's café cantante before opening his own establishment. In any case, the references seem to indicate that there were at least two singers with the same name living in Jerez in different decades. There are very few recordings of this cante.

The high notes reached in this style and that of María Borrico can create a stunning effect that is ideal for concluding a series of siguiriyas (since their spectacular nature makes it nearly impossible to follow them with anything meaningful). Both melodies start very high, at the seventh degree of the scale, and involve the fourth, fifth and sixth degrees, implying the minor IV chord (D minor without capo por medio). However, rather than projecting the verse in lengthy melodic arcs (Borrico), the singer pushes certain syllables up microtonally from the sixth to the seventh degrees of the scale, straining at the apparent limits of his or her voice (Junquera). Instead of projecting the melody in a floating and grandiose manner, sustaining notes until the point of exhaustion and stopping to breathe at just a few points (Borrico), the singer seems to be pushing against a heavy weight, almost reaching a breaking point, and wrestling with the melody in a series of attacks (Junquera). These two styles may very well represent two ways of approaching a similar musical idea, each best suited for a different kind of voice, although it must be said that this description is based on recordings of only three very different singers (Vallejo, Mairena and Romero).

Rafael Romero (1968). With Antonio Arenas. Capo at fourth fret por medio (key of C sharp).
No digas que no
no digas que no
que tú habías sido la causa grande ay ay
de mi perdición

Antonio Mairena (1972). With Melchor. Capo at second fret por medio (key of B). This "pushing" is heard in the words "estrella," "cielo," "siquiera" and "una." In the words "pido" and "alto," there is a similar downwards pushing. Notice the perfect structure of Melchor's accompaniment and his enthusiastic and well-timed reactions to Mairena's inspired singing.
Se lo pido a la estrella
la del alto cielo
que me llevara siquiera una horita aaay yayy ayyyy
con mi compañero

Diego El Lebrijano

Diego Fernández Flores was born in Lebrija in 1847 and died in the first decade of the 20th century. This style uses six-line verse sung with references to the liviana at certain points. It is thought that El Lebrijano was a follower of El Nitri, and that he added to the style of El Nitri 3 the first two lines of verse of this style of siguiriya. Notice the ascending melody at the end of the next-to-last sung line. This is very similar to a characteristic ending of other styles of Los Puertos, like Perico Frascola, El Nitri 3, Luis el del Cepillo and Juanichi El Manijero.

Antonio Mairena (1965). With Melchor. Capo at sixth fret por arriba (key of B flat).
Si acaso no tuvieron
alivio mis males
yo me estoy muriendo
yo no quiero a nadie
mientras me viva mi hermanito Bocho aaay aayy ay ay ayyyyyy
y tengo yo bastante

Juan Talega (196?). With Diego del Gastor. Capo at third fret por arriba (key of G). Talega begins this cante with an ascending melodic line.
Supuesto que no tienen
alivio mis males
yo me estoy muriendo
yo no quiero a nadie
mientras viva mi hermanito Bocho aayyy yyy
tengo yo bastante

Enrique El Mellizo 1

Francisco Antonio Enrique Jiménez Fernández was born in Cádiz in 1848 and died in 1906. It is thought that El Mellizo recreated this style based on certain cantes from Triana. Although El Mellizo is closely associated with Cádiz, his siguiriyas correspond to the styles of Los Puertos, as is also the case with the styles of Curro Durse. Luis and Ramón Soler indicate that this cante bears similarities to Frasco El Colorao and Antonio Cagancho (air of Triana) and El Planeta and El Fillo 2 (air of Los Puertos).

Antonio Mairena (1965). With Melchor. Capo at third fret por medio (key of C, actual pitch between C and C sharp). Notice the fourth scale degree that starts the last sung line ("para").
Y qué vergüenza
y qué vergüenza más grande
y me has hecho pasar
pedir limosna
limosna mango de puertecita en puerta
para tu libertad

Pepe el de La Matrona (1976). With Félix de Utrera. Without capo por medio (key of A). This version does not make use of the fourth scale degree to start the last sung line.
Como la tortolita
que anda por los montes
así andaba mi compañerita
de día y de noche
así andaba mi compañerita
de día y de noche

Enrique El Mellizo 2

Antonio Mairena (1958). With Juan Moreno. Capo at second fret por medio (key of B).
Dinero
ay dinero
ay dinero
ay dinero
Dios mío dinero
para yo pagarle y a esta gitana buena
aaaa yyya yyyy todo lo que yo le debo

Pepe el de La Matrona (1976). With Félix de Utrera. Without capo por medio (key of A). This last sung line starts with the fourth scale degree ("salen").
Ay En contra
ay en contra
ay en contra
ay en contra
ay todo me viene en contra
el tiempo y la marea ay ay ay ay
y todo me viene en contra
y los pecitos de este mar salado
salen por la popa

El Nitri 1

According to Luis Suárez Ávila, Tomás José María de la Santísima Trinidad was born in 1850 and was the grandnephew of El Fillo. This contrasts with the alleged designation of El Nitri as the first holder of the "Llave de Oro" in 1862, since he would have been only 12 years old. This first style attributed to him features some characteristics of Curro Durse 1.

Antonio Mairena (1964). With Melchor. Capo at third fret por medio (key of C). The third sung line is similar to Curro Durse 1 ("le daba voces") in the use of the sixth scale degree.
Por aquella ventana
auuayyy y que al campo salía
le daba voces a la madre (de) mi alma
ay que no me respondía

Antonio Mairena (1972). With Melchor. Capo at third fret por medio (key of C). The similarity to Curro Durse 1 is more moderate here, as Mairena pushes the melody down to the fourth scale degree.
Al moro yo me voy
ay ay ay por no verte más
porque son dobles
porque son dobles las grandes duquelas
ay ay ay que me haces pasar

Tío Borrico (1980?). With Cepero. Capo at first fret por medio (key of B flat). The melody here never ventures beyond the fifth scale degree, unlike Mairena's versions.
Me voy
me voy uy aay uyyy al Carmen
yo me voy al Carmen
que me voy señores al Carmen
yo me voy para el Carmen
para rezarle ayyyy ayyyy a mi compañerita
siquiera una salve

El Nitri 2

This style is very similar to El Nitri 1. The slight differences observed here may have been added by different singers over time, or perhaps by Antonio Mairena, as he was the only one to record this style.

Antonio Mairena (1973). With Melchor. Capo at second fret por medio (key of B).
Las manos a mi me duelen ayyy aayyy aayyyy
y de tanto llamar
yo me he perdido
yo me he perdido y entre un sueño y otro aaaay aayyyy aayyyyy
y por la madrugada

Antonio Mairena (1976). With Enrique de Melchor. Capo at second fret por medio (key of B).
Cuéntame tus penas ayyyy aayyyyyaayyyy
y te diré las mías
y verás como
y verás como el ratito de que estamos juntos ayyy aayyy aayyy
y todito te se olvida

El Nitri 3

This style differs from that of Diego El Lebrijano in that the latter has two more lines of verse than the former. Luis and Ramón Soler make a distinction between the two based on the clear air of liviana and cabal, which were styles frequently sung by El Nitri, and on the idea that Diego El Lebrijano, a follower of the cantes of El Nitri, may have subsequently added two lines of verse to this style. Notice the ascending melody at the end of the next-to-last sung line. This is very similar to a characteristic ending of other styles of Los Puertos, like Perico Frascola, Diego El Lebrijano, Luis el del Cepillo and Juanichi El Manijero.

Antonio Mairena (1965). With Melchor. Capo at sixth fret por arriba (key of B flat).
Camino de Bollullos
Venta del Noguero
allí mataron a Alonso de los Reyes aaaay ayy aayyyyy
siete bandoleros

Juan Talega (196?). With Diego del Gastor. Capo at third fret por arriba (key of G). As in his version of El Lebrijano, Talega begins with an ascending melodic line. In this version, he links the first and second lines of verse and repeats the beginning. Camino de Bollullos
Venta de Noguero
Camino de Bollullos
Venta de Noguero
allí mataron a Alonso de los Reyes aaayyy aayyy
cuatro bandoleros

Bochoque

It is thought that the name of this singer was José Vargas Serrano and that he was born around 1870. His extended family included artists known as Bochoque or Los Micos in Sanlúcar de Barrameda, and were some of the most important singers in this area. Some of these artists were María La Mica, Tío Frasco, La Mica, Pepa La Bochoca, Bochoque and Miguel el de Pepa, the latter two being brothers. The only singer born up to 1920 to record this style and many others of Los Puertos was Ramón Medrano, who learned it from Félix Serrano Medrano. This cante features many of the characteristics of the singing styles from Sanlúcar de Barrameda, with lengthy sung lines, the last two of which are linked. It is sung without extreme contrasts, as are the oldest styles from Los Puertos (El Planeta, El Fillo 2 or Enrique El Mellizo 1, among others) and Triana (Frasco El Colorao, La Josefa or Antonio Cagancho). It bears similarities to the cante attributed to El Tuerto de La Peña, which may have given rise to this style. However, in the cante of El Bochoque, the major-sounding cabal air is much more present than in El Tuerto de La Peña, at least in the handful of recordings that we can examine today. It is also similar to Miguel el de Pepa 2, perhaps because the two singers were brothers, or perhaps due to the personality of Ramón Medrano and the "primitive" manner in which he sang flamenco.

Ramón Medrano (1971). With Félix de Utrera. Capo at first fret por medio (key of B flat).
Don Antonio González
el de la Huerta Grande
por Dios decirme si remedio tienen
mis males

Miguel el de Pepa 1

It seems that the name of this singer was Miguel Vargas Serrano, and that he was born around 1875. Luis and Ramón Soler indicate that the style involves very little linking or repetition of lines of verse, and that echoes of tonás can be heard, particularly in the version of Ramón Medrano. In this regard, it bears many similarities to Triana anonymous 2.

Antonio Mairena (1966). With Ricardo. Capo at second fret por medio (key of B). Mairena reportedly learned this style from a son of the man to whom this style is attributed. This version of Mairena includes some features of the liviana (first sung line), as do other cantes that he recorded.
Y qué dolor de moza
Dios le dé su gloria
mientras yo viva madre en este mundo
te llevo en mi memoria

Ramón Medrano (1971). With Félix de Utrera. Capo at first fret por medio (key of B flat).
Ay ay
Bien sé que muero
yo bien sé que muero
pero consuelo
pero consuelo que a la tierra llevo aaaayy yyyy aayy yayy
y que tú vas primero

Miguel el de Pepa 2

Although this sounds very clearly like a siguiriya cabal, the conclusion is sung in the style of a "normal" siguiriya melody. It is thought that siguiriyas were developed from tonás, and Luis and Ramón Soler suggest that this style may represent a transitional stage in this development.

Ramón Medrano (1971). With Félix de Utrera. Capo at first fret por medio (key of B flat).
Ay aayy aayyy ayy yaaua
Aaaayyyaaataayyy
Fatigas grandes tengo
como sin sueño ni calenturita aaaauyy yyyau
me estoy durmiendo

Manuel Torre 3

Styles 1 and 2 attributed to this singer correspond to Jerez and Cádiz, respectively. This siguiriya is considered a recreation of Curro Durse 3, and is one of the cantes that is more closely associated with Manuel Torre. Many artists have recorded this style using the verse seen below. Most singers today conclude this style with the fourth scale degree at the first syllable of the last line of verse, which is a characteristic of some styles of Los Puertos. However, in his recording of this style, Manuel Torre remains around the tonic, in a way that is similar to the conclusion of Curro Durse 3. It is impossible to determine whether this detail of Torre's recording corresponds to a closer relationship to the style of Curro Durse or whether Torre preferred to avoid the final burst of energy involved in reaching the fourth scale degree, as he was not in very good health toward the end of his life (he died of tuberculosis just four years after this recording). El Niño de Cabra recorded this style in the same year as Torre and concluded the cante without the fourth degree.

Manuel Torre (1929). With Borrull hijo. Capo at third fret por medio (key of C).
Era un día señalado
de Santiago y santa Ana
ayayayayyyyyyyay
de Santiago y santa Ana
ayayyyy
le rogué yo a Dios
que le aliviara a mi madre las ducas
de su corazón

Niño de Cabra (1929). With Ramón Montoya. Capo at fourth fret por medio (key of C sharp).
Ayyy ay ayyy
Era un día señalado
de Santiago y santa Ana
aayayyyyy aaay
de Santiago y santa Ana
y yo le rogaba
que le aliviara las penitas
a la madre (de) mi alma

Luis el del Cepillo

It is thought that Luis Suárez de la O was born around 1880 in Puerto de Santa María and died in the second or third decade of the following century. This cante is based on the siguiriya of María Borrico, as is the style attributed to Juan Junquera. Notice the ascending melody at the end of the next-to-last sung line. This is very similar to a characteristic ending of other styles of Los Puertos, like Perico Frascola, Diego El Lebrijano, El Nitri 3, and Juanichi El Manijero.

El Chaqueta (1959). With Perico del Lunar padre. Capo at fifth fret por medio (key of D). This version starts with the major-sounding cables style of guitar playing because it is preceded by the cabales style Loco Mateo 3.
No digas que no
no digas que no
que tú habías sido la causa más grande aaaayyy aayyy ayyy
de mi perdición

Alonso el del Cepillo (1971). With Félix de Utrera. Capo at fifth fret por medio (key of D). Alonso was Luis' brother. The melody in these two versions is reminiscent of today's romance.
Dados por contentos
dados por contentos
que no le quedan a este cuerpo mío auy auy
nada más que los huesos

Alonso el del Cepillo (1971). With Félix de Utrera. Capo at fifth fret por medio (key of D).
(No) lo permitáis
no lo permitáis
que los moritos que están en la Isla auy auy
se pasen a Cádiz

Juanichi El Manijero

Juan Fernández Carrasco was born in Jerez around 1880. He was the father of Tio Parrilla and therefore the grandfather of the tocaor Manuel Parrilla. He was also the brother of El Tati and therefore the uncle of Tío Borrico, who stated in his biography that his uncle Juanichi sang this siguiriya, although Borrico attributes it to Frijones. The three versions presented here were recorded by Tía Anica, who stated that she had learned this cante from Tío Parrilla. This style is similar to Paco La Luz 2. The ascending melody at the end of the second line of verse is very similar to a characteristic ending of other styles of Los Puertos, like Perico Frascola, Diego El Lebrijano, El Nitri 3, and Luis el del Cepillo.

Tía Anica (1962). With Parrilla de Jerez. Capo at third fret por medio (key of C).
Hermanito mío Cuco
tú dile a mi madre
que yo me muero en esta casapuerta ay
arrevolcado en sangre

Tía Anica (196?). With Manuel Morao. Capo at third fret por medio (key of C). Notice the cabales chording heard at the end of the fourth sung line.
Comparito mío Cuco
comparito Cuco
llámame a mi madre
que yo me muero y en esta casapuerta aaaaayy ahaaaayyy aaaayyyyyyy yyyyyy
revolcado en sangre

Tía Anica (1977). With Diego Carrasco. Capo at third fret por medio (key of C).
Comparito mío Cuco
comparito mío Cuco
tú llama a mi madre
que yo me muero en esta casapuerta ay ay ay ay ay
y revolcado en sangre

Antonio Mairena 2

Style 1 attributed to this singer corresponds to Jerez. In the liner notes that accompany this recording, Ricardo Molina attributes this cante to Juanelo. The first two sung lines are similar to Enrique El Mellizo 2, and the rest resembles María Borrico.

Antonio Mairena (1966). With Ricardo. Capo at seventh fret por arriba (key of B).
Ya vienen las requisas
ya suenan las llaves
y así me llora mi corazoncito
gotitas de sangre

Antonio Mairena 3

This is similar to Juan Junquera, but instead of finishing with the "caída" of said style, the cante continues in the high register in which it begins. Mairena may have based this recreation on Manuel Molina 3.

Antonio Mairena (1973). With Melchor. Capo at second fret por medio (key of B). In the same year, Alonso el del Cepillo recorded this verse in the style of Luis el del Cepillo, although Mairena sings "los franceses," which makes more sense from a historical point of view.
No lo permitáis
y no lo permitáis
que los franceses que están en la isla
se metan en Cádiz

Antonio Mairena (1976). With Enrique de Melchor. Capo at second fret por medio (key of B). Mairena adds several interesting features to this version, like the repetition of the first line, the fragmentation of the third line, and the repetition of "adonde."
Huye usted para allá
huye usted para allá
que me has quitado
que me has quitado la sillita de adonde adonde adonde adonde
yo me iba a sentar

Antonio Mairena 4

This is very similar to style 3 attributed to Mairena, but the ascending melody in the first lines is a bit different.

Antonio Mairena (1976). With Enrique de Melchor. Capo at second fret por medio (key of B).
Sin verte de día
serrana no vivo
luego de noche me quitas el sueño
y sueño contigo

El Perrate

José Fernández Granados was born in Utrera in 1915 and died in 1992. This style is thought to be based on Paco La Luz 2, although the melody is quite different.

El Perrate (1968). With Juan Carmona. Capo at first fret por medio (key of B flat).
Dolores
dolorosa mía
en un cachito de mi corazón
ay te tengo metida

Los Puertos Anonymous 1

Pepe el de La Matrona was the only artist born up to 1920 to record this style. The melody is clearly similar to the liviana, as heard in Antonio Mairena's version of the style attributed to Juanelo.

Pepe el de La Matrona (1969). With Félix de Utrera. Capo at second fret por arriba (key of F sharp).
Camino Cazariche
camino Cazariche
Venta Esbravaero
Venta Esbravaero
ahí mataron a Bastián Bochoco
cuatro bandoleros

Los Puertos Anonymous 2

The only singer born up to 1920 to record this style was El Niño de Barbate. The beginning is similar to Manuel Torre 1, as heard in the stress on the last syllable of "faluchitos." This characteristic is heard again in "tuyo," but the rest of the cante clearly displays characteristics of Cádiz, and Los Puertos, in particular. The sung lines end with features of Curro Durse 1 and El Nitri 1. Both of these styles are associated with Francisco La Perla 1, which, in turn, offers other similarities to this style.

El Niño de Barbate (1971). With Paco de Lucía. Capo at third fret por medio (key of C, actual pitch between B and C).
Faluchitos entraron en bahía
como el tuyo no lo veo
entrar no podía
como el tuyo no lo veo madre (de) mi alma
entrar no podía

Siguiriyas of Triana

It is thought that Triana styles, along with those of Los Puertos, are among the oldest siguiriyas. The contact and influence among singers from both areas seem to have been inevitable, as indicated by the similarity of the ancient siguiriyas of El Planeta and El Fillo to the cante of Frasco El Colorao. Echoes of tonás can be heard in Triana styles and in many cantes from Los Puertos, and the major-sounding cabales styles also correspond to these two areas. Triana styles often sound archaic, and are normally sung with few tercios. The melodies do not feature the spectacular changes in pitch heard in styles from other regions.

Frasco El Colorao

Frasco El Colorao was supposedly born in the late 1700s, and was a friend of Manuel Molina and Curro Durse. This cante is thought to be one of the oldest of the ancient Triana styles and seems to have influenced the Los Puertos styles of Curro Durse 2 and Curro Durse 3, the Jerez style Manuel Molina 1, and the Triana styles of Antonio Cagancho and La Josefa. The four sung lines are normally linked in pairs with a brief pause at the midway point of the cante. The fact that this style was recorded by Cepero, Borrico, Manuel Sordera and Manuel Agujetas seems to indicate that it was cultivated in Jerez.

José Cepero (1930). With Borrull hijo. Capo at first fret por medio (key of B flat). Notice that this verse is closely associated with the style Curro Durse 3, which is another indication of the relationship between these two styles. Cepero's versions of this style bear a much greater similarity to the cantes of Curro Durse.
Aaayyy
A las dos de la noche
los campanilleros
con el ruido de las campanillas y
me quitan el sueño

José Cepero (1930). With Ramón Montoya. Capo at first fret por medio (key of B flat).
Y desde que Dios te apartó
de la vera mía
yo no comía ni bebía a gusto ay
porque no te quería

Tomás Pavón (1948). With Melchor. Capo at the second fret por medio (key of B). Tomás' monumental version of this cante influenced generations of singers. Compare this version and that of Rafael Romero to those of Cepero.
Y Dios mandó el remedio
Dios mandó el remedio
para este mal mío y el de mi compañera y
que no lo hay ni lo encuentro

Rafael Romero (1968). With Antonio Arenas. Capo at fourth fret por medio (key of C sharp).
Aaayyy
Si esta pena mía
mucho me durare
por todas murallas que en el mundo hubiera y
que yo las derribare

Antonio Cagancho

Antonio Rodríguez Moreno was born around 1820 in Triana. He was the father of Manuel Cagancho, whose cylinder recordings can be heard in this study (El Viejo de La Isla and Manuel Molina 3). This style seems to be based on the cante of Frasco El Colorao. There are important differences between the three versions presented here.

Manuel Vallejo (1932). With Niño Pérez. Capo at fifth fret por medio (key of D). Notice that the melody in the first half of the eleven-syllable line is very similar to that heard at the same point in the style of Manuel Cagancho.
Reniego
y reniego de mi sino ay
yo reniego de mi (sino)
como reniego reniego
como reniego reniego de la horita ay
que yo te conocí

Tomás Pavón (1948). With Melchor. Capo at second fret por medio (key of B).
Reniego yo
reniego en mi sino ayu
reniego en mi sino
como reniego madre hasta en la horita ay
que te he conocido

Manolo Caracol (1958). With Melchor. Capo at third fret por medio (key of C). This is a highly personal version that differs from those of Tomás and Vallejo.
Como el reniego
como el reniego reniego
reniego de mi si(no)
como el reniego
como el reniego oooo ay ay yy la horita
que te conocí

Silverio 2

Style 1 attributed to this singer corresponds to Cádiz. This appears to be Silverio's recreation of Curro Durse 3 (first half of cante) and Manuel Cagancho (second half). It is said that Silverio sang this verse in memory of his friend Enrique Ortega Díaz "El Viejo." It is interesting that Caracol was the only artist born up to 1920 to record this cante, as he was a descendant of Curro Durse and Enrique Ortega and was related to the Cagancho family of Triana.

Manuel Caracol (1958). With Ricardo. Capo at second fret por medio (key of B).
Aaayyyyaaay
y por Puerta de Tierra
no quiero pasar
porque me acuerdo ay de mi amigo Enrique
me harto (de) llorar

Silverio 3 (cabal)

Silverio may have recreated this style based on El Fillo 2 and the siguiriya cabal of El Planeta, although it should be pointed out that the considerable differences between this style and those of El Planeta and El Fillo demonstrate the originality of Silverio's recreation. While the initial vocalization and the great number of tercios are characteristics of this style, there are several versions to take into account: El Tenazas recorded what is probably the closest to Silverio's original version of this style, as he was a disciple of Silverio. However, the first to record this cante were El Mochuelo and Sebastián El Pena in 1907, the latter offering his sweetened recreation of the style, which came to be known as the "cabal de El Pena."

El Tenazas (1922). With El Hijo de Salvador. Capo at first fret por medio (key of B flat). This is perhaps the closest version to the original.
Aayyyyy yyyyy yyyyay
Aay yo he andadito la Francia
aaayy andadito la Francia
Sevilla y Portugal
y yo una carita
una carita como tú la tienes
no he podido encontrar
una carita como tú la tienes
no he podido encontrar

El Pena hijo (1929). With Pepe de Badajoz. Capo at third fret por medio (key of C). This is a version sometimes referred to as the "cabal de El Pena," first recorded by the father of this singer. Notice the absence of the vocalization that is characteristic for this style.
Si el querer que yo te tengo
de plata fuera
el querer que yo te tengo
de plata fuera
otro mas rico, mas rico que yo
en España no lo hubiera

Antonio Mairena (1959). With Manuel Morao. Capo at second fret por medio (key of B).
Aaay
Ábrase la tierra
que no quiero vivir
ábrase la tierra
que no quiero vivir
que para vivir
que para vivir como yo estaba viviendo aay ayy yyyyy yyyyy
yo me quiero morir

El Sernita (1967). With Paco de Antequera. Capo at second fret por medio (key of B).
Aayyy
Que los moritos y van a caballo
los cristianos a pie
aayy los cristianos a pie
como ganaron la casita santa
aaayyy yyyy yyyyyyy yyyyyyyyyuyyyuy de Jerusalén

Rafael Romero (1968). With Antonio Arenas. Capo at fourth fret por medio (key of C sharp). Rafael reportedly learned this version through his friend Bernardo de los Lobitos.
Qué fatigas tengo
y ganas de llorar
cuando la vi en el vaporcito
la máquina andar

Bernardo de los Lobitos (1969). With Luis Maravilla. Capo at third fret por medio (key of C). These last two samples do not include the characteristic vocalization of this style.
Qué fatigas
fatigas me dieron
con ganas de llorar
cuando la vi
cuando la vi en el vaporcito
y la máquina andar

La Josefa

It is thought that her name was Josefa Ríos and that she was born around 1840. Luis and Ramón Soler state that in the versions of Joselero echoes of tonás can be heard, and that this cante is closely associated with that of Frasco El Colorao.

Joselero (1978). With Diego de Morón. Capo at fifth fret por arriba (key of A).
Aayyy ayyy
Y a un toro de plaza
ay no le temas tú tanto ay a una malina lengua
y a un testigo falso

Manuel Cagancho

Manuel Rodríguez García was born in Triana in 1846. Although Manuel Cagancho made several recordings, some appearing in this study, it seems that he did not record this cante attributed to him. A characteristic of this style is the peculiar initial vocalization. Another characteristic is the melody heard in the first half of the eleven-syllable line, similar to that of Manuel Molina 2, and present in Manuel Vallejo's version of Antonio Cagancho.

Juan Talega (1959). With Melchor. Capo at third fret por arriba (key of G).
Ay
Darle la limosna ayyy
dársela por Dios
porque yo vengo vengo yo herido
del mal del amor

Juan Talega (1959). With Melchor. Capo at third fret por arriba (key of G). The third line is unusually short. Notice that Juan omits the last syllable in the second and fourth lines. This omission is heard in several early versions of El Viejo de La Isla and in two of Juan's recordings of the style Paco La Luz 1.
Aayyy uaayyy
El corazón lo tengo
que si tú lo vie(ras)
lástima te causara
y dolor te die(ra)

Antonio Mairena (1963). With Melchor. Capo at third fret por medio (key of C).
Aayyyu aayyu
Quítate de la puerta
vete para el postigo
compañerita
compañerita dame tu pañuelo
que vengo herido

Antonio Mairena (1963). With Melchor. Capo at third fret por medio (key of C).
Darle la limosnita a un pobre
dársela por Dios
porque venía
que el chorrorito viene mal herido ayyu
del mal del amor

Triana Anonymous 1

Luis and Ramón Soler state that this style, of which there is only one recording in the corpus studied, combines several features of styles associated with Triana. The first line begins with a melody similar to that of Manuel Molina 2. Towards the end, we can hear the characteristic vocalization of Manuel Cagancho (a style related to Manuel Molina 2), and, finally, echoes of Curro Durse. The second sung line, which repeats the first line of verse, returns to the melody of Manuel Molina. In the third sung line, we can hear once again the echoes of ancient Triana styles, especially in the stretching of the word "tiene," which is linked to the fourth sung line, and is very similar to Frasco El Colorao.

Pepe El Culata (1958). With Perico del Lunar padre. Capo at fifth fret por medio (key of D).
Yo tengo una gitana ayy yyyy ayyu
yo tengo una gitana
que de lo poquito que la pobrecita tiene
que la mitad me daba

Triana Anonymous 2

Pepe El Culata (1973). With Félix de Utrera. Capo at fourth fret por medio (key of C sharp). Again, there is only one recording of this style in the corpus studied, and it was also recorded by Pepe El Culata. There are similarities between this cante and Miguel el de Pepa 1.
Qué pena más grande
tengo en mi corazón
qué pena más grande
todo el mundo tiene puerta adonde llamar
y yo voy por las calles
y todas me las encuentro cerradas

My sincere thanks to the following for their contributions to this project:
Ramón Soler Díaz, Prudencio Benítez Moscoso, Jesús Iglesias del Castillo, Guillermo Morán Dauchez, Chet Creider, Daniel Staffler and Luis Martín Álvarez.