The Structure of the Saeta Flamenca: An Analytical Study of Its Music Author(s): Corinna Kramer and Leo J.

Plenckers Source: Yearbook for Traditional Music, Vol. 30 (1998), pp. 102-132 Published by: International Council for Traditional Music Stable URL: http://www.jstor.org/stable/768556 Accessed: 25/04/2010 14:53
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THE STRUCTURE

OF THE SAETA FLAMENCA:

AN ANALYTICAL STUDY OF ITS MUSIC by Corinna Kramerand Leo J Plenckers Introduction In modern musicological literature the saeta is considered to belong to the domain of canteflamenco. It is a kind of song that is performed in several cities and villages of Andalusia, the most southern province of Spain. The lyrics, a stanza generally made up of five lines, deal with the suffering of Christ or the grief of his mother Mary. The music of the saeta is a rhythmically free flamenco song containing many melismas and ornaments. It is performed without the accompaniment of instruments (a palo seco;literally, "with a dry stick"). The performance of saeta takes place in the religious processions that are held in town during Holy Week, before Easter, and are organized by the local religious brotherhoods, the cofradias.During these processions through the streets of the cities, huge images of Christ and the Virgin Mary, called pasos, are carried. When at specific times such a procession comes to a halt, a singer, who is generally hired for the occasion by one of the local brotherhoods, may take the opportunity to direct him or herself to the image and perform a saeta. The performance gives listeners the impression of a spontaneous and improvised outburst of a musically gifted worshipper, who expresses his grief and feelings of sorrow aroused by the image. The origin of the saeta tradition is unknown. The tradition of singing saetas in front of an image existed already in the nineteenth century, but the tradition of carrying images in Holy Week processions may be much older. Initially the saeta was not performed in the flamenco style and its musical requirements were rather modest: the singer need only have "a ringing and powerful voice and a clear pronunciation, so the words of the copla could be understood"' (Rossy 1966:147). It is only at the beginning of the twentieth century that the brotherhoods began to hire flamenco singers. The distinction between the so-called saeta vieja or antigua and the saetaflamenca also dates from this period. The saeta vieja is considered to be the original popular form of the saeta, characterized by a simple melodic line that is sung in a syllabic style by anyone who feels the urge to express his/her feelings of compassion. The saetaflamenca, however, is characterized by typical elements of the cante jondo, such as the use of melismas and specific ornaments. It is performed by singers who are experts in the flamenco style. The scope of this research In this article we make an attempt to define the musical models and the modal characteristics that constitute the basis for improvisation in the saeta flamenca. Particularly, the following five styles (estilos) will be analyzed and discussed: ? the saeta por siguirzya; ? the saeta por martinetes; ? the saeta por carcelera; ? the saeta por siguiriyay cambiopor martinete; ? the saeta por siguiriyay cambiopor carcelera.

KRAMER/PLENCKERS

SAETA FLAMENCA / 103

Subsequently the structures of the saetaflamenca and the saeta vieja will be compared in order to clarify the relation between the two song types. We will show that these structures are very dissimilar and that it is doubtful whether the saetaflamencastems musically from the saeta vieja, as is suggested by Larrea (1949), among others. However, the question of the musical origin of the saetaflamenca will remain unsolved. The research methodology of the structure of the saetaflamenca may be called heuristic. First, we proposed a hypothetical basic structure for a particular type of saeta on the basis of one or more performances. Secondly, we tested this basic structure by comparing it with other performances of the same kind of saetas, and made adjustments if necessary. This research is based on audio recordings of 30 saetas, as listed in Appendix I. These are taken from commercial recordings, since they are more widely available than private fieldwork recordings. As for the use of "structure" and "structural," these terms are used to signify syntactical linkage between musical phrases and periods. The analysis of different musical structures is primarily represented in a number of paradigms. In these paradigms the musical units are arranged in a way similar to the one explained by Ruwet (1972:116). As opposed to Ruwet's study, this paper presents a rather broad and sketchy notation of the music. It is meant only to give the reader an insight into the system of phrases and sub-phrases. A sketchy notation is sufficient for this purpose, as it is meant primarily as a visual aid to an analysis that is basically aural. The musical data have been taken from easily available commercial records, so in principle there is no need for the reader to imagine a reconstruction of the sound event from the score. There were two more considerations to opt for a sketchy notation. Firstly, a comprehensive and detailed notation of the pieces would lead to large paradigms that would contain data that are not relevant for this research. Secondly, this article does not deal with melodic movements in detail or with performance aspects such as ornaments, intonation, dynamics, etc. These important aspects can be dealt with in a more successful way by using digital sound analysis equipment, as has recently been shown by Manfred Bartmann and Werner Deutsch (1994). Preceding research The musical relation between the saetaviejaand the saetaflamenca has hardly been investigated until now. The musical structure of the saeta vieja was the subject of thorough research by Larrea (1949), and several transcriptions of saetas viejas have been published.2 However, musicologists have paid little attention to the musical structure of the saetaflamenca. We only know that these are to be sung in the previously mentioned styles. Musical notations of saetas flamencas are almost completely lacking.3 However, there are recordings of the saetaflamenca available on CD and cassette. It is difficult to find a reason for the lack of musicological interest in the saetaflamencain comparison with the saetavieja. An explanation may be found in the generally accepted view that the first developed from the second. This development is coined aflamencamiento orflamenquizacion,and has been defined by Miillerburg (1985:18) as the "transformation of the popular song type into Flamenco song."4 This definition shows that Miillerburg understands

104 / 1998 YEARBOOK FOR TRADITIONAL MUSIC

the saetaflamencaas a particular way of performing the saetavieja. Her opinion seems to be shared by Criville (1983:284) who states that the modern saeta flamencais performed "in the style of the seguidiya[ =siguiriya]or the martinete."5 He adds a musical notation of a saeta vieja taken from Fray Diego de Valencina.6 The research material This research is mainly based on twenty-five saetas collected by Frederic Deval and published on CD in 1993 (Appendix I, [6]). Fifteen performances were recorded live during the "XXI Concurso de Saetas en la calle" in Jerez de la Frontera.7 The other recordings were made in the studio; they are performances by musicians of Arcos de la Frontera, Lebrija, Sevilla, and Jerez de la Frontera. In the CD booklet, five different terms are used to label the saetas. Eighteen saetas are classified as saetapor siguiriya. The term "saeta is used por martinete" for three saetas. Two saetas are labeled "saeta one called "vieja" por carcelera," and another "por siguiriyay cambiopor carcelera." Other types of saeta, such as the saetascuarteleras and saetasquintasand sextasare not included in the CD; therefore, they are not discussed in this article. Because of the predominance of the saetas por siguiriya in the Deval collection, we included other commercial recordings in our data base. An overview of the audio recordings studied is given in Appendix I. The saetas of the Deval collection will be referred to in this study by their numbers, preceded by the capital D (Deval). Other saetas that are discussed are indicated by A (additional), followed by a number. The lyrics of the saetas In 1985 Marion Miillerburg published an extensive study on the poems that are sung as saetas. As her analyses and descriptions fully apply to the lyrics of the saetas of the Deval collection, a few pertinent remarks may suffice here. The majority of the lyrics are made up of four or five octo-syllabic lines. The end-rhyme pattern of the five-line poems (quintilla) is generally ababa or abcbc; that of the four-line poems is abab or abcb. There are few lyrics containing three, six, or more lines. These lyrics are very irregular and do not show a fixed number of syllables or a specific rhyme pattern. Deval's additional notes to the reordings suggest that there is a correlation between the subject of the song of the saeta and the image (paso) to which it is addressed. Lyrics referring to some episodes of the Passion are addressed to an image representing Christ, while lyrics that allude to the grief of his mother Mary are sung to her image.8 There is only one exception. The lyrics of D3 are about the support given by Simeon to Christ in carrying the cross, yet it is sung in front of an image of Mary called "Nuestra Seiora de la Candelaria." It is interesting to examine whether there is a relation between the lyrics and the music. Does the musical division in saetapor siguiriya,saetapor carcelera, and saetapor martinete correspond to a categorization of the lyrics according to their subjects (Christ, Mary, Peter, Pilate, prison, etc.)? Unfortunately, a clear relationship could not be found, since the number of analyzed saeta (30) is too small to establish such evidence. In fact, the opposite seems to

KRAMER/PLENCKERS

SAETA FLAMENCA / 105

be more probable, as some additional data have shown that the same lyrics were sung by some performers as a saetapor siguirzyaand by others as a saeta por martineteor saeta por carcelera. In the spring of 1995 Corinna Kramer interviewed several singers and asked their opinions about the relation between the subject of the lyrics and the musical mode of the saeta.9 Their answer was, rather generally, that lyrics dealing with the suffering of Christ are preferably performed as saeta por siguiriya, whereas poems about Mary are generally sung as saetapor martinete. The saetapor carcelera should always be about the prison, as the name carcelera (< carcel=prison) indicates. These connections probably reflect more the ideal view or a general belief of the singers interviewed, rather than the common musical practice. When invited, all the performers were more than willing to perform the same lyrics in different styles. The saeta por siguiriya The term saeta por siguiriya may be best explained as a saeta performed in the style of the siguiriya.Siguiriyaitself is a kind of song, described by Garcia Matos (1958:11) as "having the most sensitive, sad and deep expression of all the flamenco songs."10 Its origin is unknown, and this fact has led many scholars to formulate rather far-reaching speculations. For a survey of these different theories of origin, the reader is referred to Criville (1983:285). The siguiriya is generally considered to belong to the flamenco songs with guitar accompaniment (Criville 1983:278). However, an interesting collection of flamenco songs, the Magna Antologia del Cante Flamenco (1982; Appendix 1, [3]), contains a number of siguiriyasthat are sung without any instrumental support. The main musical feature, which may distinguish them from other unaccompanied songs of the canteflamencoin this collection, is the melodic mode. All siguirzyasare performed in the e-mode. Many show, however, a frequent alteration of "g" to "gsharp" and the use of the augmented second
f_.gsharp",, as a melodic

step.

The modal qualities of the siguiriya and the ascribed effect of deeply felt sorrow are also characteristics of the saetapor siguiriya,but not its only features. The formal construction is common to all the saetas analyzed and typical for them, as is shown in the discussion of saeta D3. The lyrics of this saeta consist of five basically octo-syllabic1 lines and follow the rhyming pattern abcbc. Con sudor frfo y descarzo caminaba mi Jesiu. La fuerza le va fartando por no poer con la cruz, y un hombe bueno le va ayudando.12 Two textual repetitions occur during the performance. At the beginning of the saeta the initial words of the first line, "con sudor frfo," are sung twice, and at the end the entire first and second lines are repeated. The whole lyrical arrangement can be seen in Musical Example 1, which displays the musical structure of the saeta in a paradigm that contains four rows, labeled I, II, III and IV, and four columns, labeled a, b, c and d. The music displayed in each row forms the syntactical unit of a period. All the musical phrases that make up a period are arranged vertically in such a way that similar

106 / 1998 YEARBOOK FOR TRADITIONAL MUSIC

phrases are contained in the same column. Each phrase can be named by its coordinates: the number of the row and the letter of the column. For instance period "I" consists of the phrases Ia and Id, while column "a" contains the phrases Ia, IIa and IVa. The first of the four periods that are shown in Musical Example 1 is the shortest one. It contains two phrases: Ia, a quejo,13 which is a melisma on the syllable "ay," and Id, a closing phrase, which carries the first text line. As mentioned before, the first words of this line are repeated. After this repetition an elaborate melisma follows. This melisma is concluded by a recitative-like repeat of the final note "e" on the last words of the text line "y descarzo." The next three periods are considerably longer than period I. With the exception of period III, all periods start with a quejfo, and all contain three musical phrases belonging to the columns b, c and d. The phrases b are combined with the first half of a text line, and the phrases c with the second half; both phrases end with an extensive flourish. Phrase d contains a complete text line, the middle syllables of which are sung melismatically. Some interesting details about the successive columns may be noted. In the melodic complexity of the phrases the first column, containing the quejzos, increases downwards. In phrase Ia, the melodic movement circles around the basic tone "e." In phrase IIa, the melodic kernel is enlarged to the third "e-g." Finally, in phrase IVa, a special emphasis is given to the fourth degree of the scale "a" by raising the third degree "g" to "gsharp." The phrases contained in column b show an increase of melodic complexity similar to column a. Each of them is combined with the first four or five syllables of a text line; the musical setting is mainly syllabic. An extensive melisma only starts with the vowel of the last syllable; it ends on the final "e." The melisma belonging to IIIb and IVb is followed by a slightly varied repeat, which again closes on the final note "e." A main common feature of the phrases contained in column c is the initial melodic step "d-e," by which the vowel of the melisma, sung in the preceding column b, is prolonged. It is only after this short initial movement that the second half of the text line, which again ends with a melisma on the final syllable, is sung. This melisma is shorter than the one in column b; it is concluded with the conspicuous closing formula: ". .. e-f-e-d-e." The phrases arranged in column d show a melodic movement that is more quiet and more restricted than the ones in the preceding columns. They end with a recitativelike recurrence of the modal tonic "e," on which the final syllables of the text line are sung (compare descarzo, fartando, ayudando,mi Jest), and they contain a complete text line. In the course of the phrase some melismatic activities occur. On the basis of these observations, the structure of Saeta D3 is summarized in Diagram 1. This pattern will be referred to as the standard pattern for the saeta por siguiriya; it applies by and large to all the saetaspor siguiriya of the Deval collection. The reader may check this by consulting Appendix II. It will also be referred to as standard pattern I to distinguish it from standard patterns of other types of saetas that are developed in this article.

KRAMER/PLENCKERS

SAETA FLAMENCA / 107

i. J J
A-yi A -

Mus.ex.I Saetaporsiguiriva D3. "' a. " Sb.

A yi_

,. : :-:-Ja.2JJjjJ A yi_ i ca-mi - na- ba

yi

Ayaya- i_

I.4
A yi A-yayi A yi

fM
porno por--e

j
e . o

y conudor fio-

Mus.ex. 2. Saetaporcarcelera D20. a b. a. I. 4l ' .i ,,% . J

A - ya- ya!

--

porquelan-tra-da miv._ .Mquecl Christodel

(.

a ,

... ~
c

.._ 3.jJ

'

'

Mus.ex. 3. Saetapormartinete D21. a. b. - T 1 =.. J^ ?

jA- ya ya ya!

m.,j'Ji J,

r -

quea tu hijolo_

, ho

J -

. f

Iv.

.hJ.'j - { j
sin impor-tar-lea

'e

pJ

in,.

_-_3 , pp,._--E-,

Mus.ex.4. Saetapormartinete Al.

i ,.
IBI,

iayaya

. ~ ya! iYayya-!

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r
-

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n fw r TnJ

.
1'^1
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o

r
a

>

' "'I.'~'"~'"-J
mismoque

.i' "

vi

- J J d JW lionrndo cus__

j. r J Lrsj pca _r_l-r -r

108 / 1998 YEARBOOK FOR TRADITIONAL MUSIC

Mus. ex 1. (ontinued) C.

(.)

1}I
L

Conudorfi - o,

d. _iJ h -LJJ

consudorfri - o

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o

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t --

y descar - zo

(II.)
a^

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.

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...

La fuer

za_

leva_fa r ta - do

flinafflTOJ^pj^^^^roi^^ jp;Rt~RMf un hom be bue e_ conla auz

(IV.) o_ ff y des - car - zo fJ ca - mi - na- ba Mu. ex. 2. (ontinued) c.

-----mi Jew

no_

e va a yu n do

d.

(1.)

(u)

4
,-J j...J
e iL muy estrechs

_
ayaya ys

_ (IV.)
Dl GranPo der

a yyyaya

Mu. ex 3. (continued)

C.

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Mg. ex. 4. (ontinued)

C.

I.a) n4

na

hiqudl l

a ,.-(IV.)SI a_

gevil

l -_vil is

KRAMER/PLENCKERS

SAETA FLAMENCA / 109

Mus ex. 2. (continued)

(I

P[46 P..

e.

j;JJ 6-

TJ7 P

3J

-J..

(11)
a Tencui-da o, ca- pa-taz

(II )

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Man- da con mu- cho

(IV)

: P& , PP
Mus ex. 3. (continued)

pp Twr wj PcDr-^cJrr

tfl

.r

(I.) a (II)
a Ma-re mi - ra si e-res bue na

(In.)

r JT rJhr;
y los que lo

Jfl

n
-

T
r--

..
ron

conde - na

(IV.)

^ 1p F p p " l4 1 tu tambien le has per-do-na - o

X
d.

(V.)

rcrrr

o ._._. ___ __
Mus ex. 4. (continued)

rcr rrcrrrr .. _ _ _ _
e.

p rr ;: JJJ.. r \ rrryc:J

(.)
ya ya ya

J
(11)
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a-i

3] 3
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o que no sa-bes

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;^

a dondevas

(IV)

aa

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A pp pr r rsrr. rsf ra rren rrrrdrrry * Cj2j rr

so-lita en su so ledad

.m.
^?r--mi

110 / 1998 YEARBOOK FOR TRADITIONAL MUSIC

melody: lyrics: melody:

lyrics:

a "e" iAy!

d "e... /e/" 1" line -c "-

II

. "-- g...e
iAy!

"g...e
2dd n

"

. e.. g ... e're

ine lineline

.d_e

. 3

-.. g...

/e/"

line,2

melody: lyrics:melody: lyrics:

Il

g ... c" 4h line,,., ...e" "- a ... e" 1" line,,

"d-c" .-> g ... 4th line,d "Id-c"

er ."-s e'

g.../e/" 5'h line "- g ... /e/" 2" line

IV

"-a iAy!

"- g... e r'ed-e I' line,,

porsiguiriya (Standard Diagram 1: Pattern of the saeta D3. The standard pattern for the saeta " --" standsfor any shortmelodic patternI). Most of the symbolsused here are self-explanatory. movement to a specific note. The final tone repeat in column d is indicated as "/e/".

Some minor variations of this pattern regularly occur. The most important of these are the following: * Column a: the first quejio (phrase Ia) is often made up of a number of separate melismas of increasing length. * Column b: the initial melodic step "d-e," which occurs regularly at the beginning of the musical phrases IIc, IIIc and IVc, is also at the beginning of phrase IIb. See Appendix II, saetas D2, D3, D4, D6, D8, D9, Dll, D23 and D25. * Column b: at the end of the phrases, an unexpected alteration of the third degree to "gsharp" or ,ghalfsharp" may occur. This happens in the saetas D2, D5, D10, Dll, D23, D24 and D25; it can be heard on the recordings, but it is not shown in Appendix II. * Column c: the initial melodic step "d-e" may be omitted in one or more of the phrases of this column. See Appendix II, D4, D6, D7, D12, D13, and D15. * Column c: between the initial movement "d-e" and the start of the lyrics, a melisma may be interpolated. See Appendix II, phrase IIIc in the saetas D4, D6, D7, D8 and D9, and phrase IVc in D8 and D9. * Column d: the repeat of the initial words of the first text line may be omitted. See Appendix II, D4, D6, D7, D8, D13 and D14. Apart from these rather small variations, the standard pattern for the saeta por siguiriya shows a flexibility in its form that is related to the length of the lyrics and the freedom of the performer to repeat certain text lines. Saetas with lyrics made up of five lines may be divided into three groups. See Diagram 2.
D3, D4, D6, D7, D12, D14: d a h-c line 1 jay! line 2 line 3 ;ay! line 4 line 5 line I line 2 ;ay! D10: a ;ay! ;ay! ay! b-c line 2 line 4 line 4 d line 1 line 3 line 5line 5 D19, D22: a b-c ay! line 2 ay! line 3 line 4 ;ay! d line 1 line I line 4 line 5

I II 111 IV

Diagram 2: Different layout of lyrics in saetas with five lines.

KRAMER/PLENCKERS

SAETA FLAMENCA / 111

The first group shows the arrangement of text lines according to the standard pattern. This group contains the saetas D3, D4, D5, D6, D7, D12 and D14. The second group only consists of saeta D10. Here the fourth and the fifth text lines are repeated at the end of the saeta instead of lines 1 and 2. The third group contains the saetas D19 and D22. They show the same final lyric repetition as D10, but unlike D10, there is a repetition of the first text line after the second. The saetas with four-line lyrics may be adjusted to the standard pattern in three different ways, as Diagram 3 shows: * by repeating the first and the second lines at the end of the saeta (D15, D23 and D24); * by deleting period II and repeating only the first line at the end of the saeta (D13); * by repeating the first three lines at the end of the saeta (D25). It may be noted that in the saetas of the first and the last group there is also an internal repeat of the third text line.
D15, D23, D24: d b-c a I" line ay! ;ai! ;ay! 2d line 3rdline I" line 3rd line
4h

D13 a iay! jay!

b-c 2d line 4th line

II
I IV

d I" line 3rd line 1st line

D25: a iay! ay! iay!

b-c I-" 2"dline 3rd line 1",2"dline

d line 3rd line 4"h line 3'd line

line 2"dline

Diagram

3: Different layout of lyrics in saetas with four lines.

There is only one saeta with a three-line verse in Deval's collection: saeta D2. Diagram 4 shows that its layout is adapted to the five-line pattern, with period III deleted.
Saeta D2: a I II
I

iay! iay!
-

b-c 2ndline
-

d I" line 3rd line

-

IV

lay!

I" line

2ndline

Diagram

4: The layout of lyrics in a saeta with three lines.

As far as the saetas with six or more text lines are concerned, the adaptation of the lyrics to the standard pattern here means that two lines are combined into one, in one of the following ways:
D8: h-c a jay! iav! 2ndline
4"' line

I II
ill

d line 3d line
5h, 6"h

D9: a nay! jay!

-

b-c 3'" line

6'h line

d 1", 2" line 4h, 5'h line

7th

D 1: a b-c iv! ;ay! 3d line

5'h line

d I", 2"' line 4"hline

6"' line

line

line

IV

ay!

I" line

2"dline

jay!

2"dline 2"d,1lM,

3rdline

Diagram

5: The layout of lyrics in saetas with six or more lines.

112/ 1998 YEARBOOK FOR TRADITIONAL MUSIC

The saeta por martinete and the saeta por carcelera The martinete and the carcelera belong, just like the siguiriya, to the cantejondo or cantegrande.These are performed without any instrumental accompaniment (a palo seco), as said before. The origin of the word martineteis unknown, but it has induced many scholars to formulate all kinds of hypotheses (see Criville 1983:281). There is much less disagreement about the origin of the word carcelera.It is generally accepted that this term originally referred to the musical utterance of a prisoner complaining about his lost freedom. The is characterized by the c-mode, melody of both the martineteand the carcelera especially its plagal form. At least this may be gathered from the recordings of martinetesand carceleras that are contained in the collection "The History of Cante Flamenco" (Appendix 1[9]).14 The Deval collection (Appendix I, [6]) contains only two saetaspor martinete (D17a,b and D21) and three saetaspor carcelera (DI, D18 and D20). The three saetaspor carcelera resemble each other clearly structurally, while the two saeta por martinetediffer from each other. Curiously, one of these, D21, is rather similar to the saetaspor carcelera. The question is whether a standard pattern can be found for the saetapor martineteand the saetapor carcelera, as it has been for saetapor siguiriya. In order to answer this question, we analyzed a number of additional commercial recordings (Appendix I), which resulted in three conclusions. First, each singer sticks to a rather fixed way of performing a saeta and allows only minor variations. Second, in the saetapor carcelera and the saeta por martinete,the performer follows a fixed schedule. Third, such a schedule is generally identical for both the saetapor carcelera and the saeta por martinete.Only one performer, Paquita Gomez, makes a clear structural distinction between these two types, which we will show later on. In order to explain how the three conclusions mentioned above have been reached, eight saeta performances will be discussed: four saetaspor carcelera The saetas will be examined in two groups. First, and four saetaspor martinete. the structures of the saetas D20, D21, Al and A2 will be explored in order to develop a general pattern of the saeta por carcelera/martinete.Next, the numbers Dl, D17, D18 and A3 will be discussed to get an insight into the variability of the pattern. As far as the saetas of the first group are concerned, each of them contains lyrics consisting of five lines. Their paradigms (Musical Examples 2, 3, 4 and 5) show a setup of five columns (named a, b, c, d and e) and four rows/periods (labeled I, II, III and IV). Period I and II of each paradigm consists of a few phrases taken from two or three different columns, contrary to the periods III and IV, which are made up of phrases out of all the consecutive columns. First the periods III and IV of the four saetas will be examined, because their structural, as well as their melodical, resemblance is most obvious. Then the more dissimilar periods I and II will be discussed. In the phrases IIIa and IVa, the same melodic line is followed: it starts with a leap "c-f" and then rises further to "a," on which the line ends. At the beginning of the phrases IIIb and IVb, the "a" or its neighboring note "bflat" are emphasized; then the melodic movement may rise further, but eventually it descends stepwise to "f," the basic note of the mode.15 The following phrases IIIc and IVc start in the same way as IIIa and IVa with the ascending leap "c-f,"

KRAMER/PLENCKERS

SAETA FLAMENCA / 113

but then, after a tone repeat on "f' the melody takes another course. A melisma, in which "c" or "d" is the highest note, follows. This melisma ends on the note "g" preceded by a prolongation of its upper neighboring note. The latter is stressed by a clear agogic accent and generally alternated by an ornamenting "blat." Moreover, in the saetas A2, D20 and D21, this upper neighboring note receives a tonic accent, as it is changed to "aflat" or "ahaf-flat." The phrases IIId and IVd show the following features: the initial step "f-g," the emphasis on "g" by an ornamental turn, or by repetition of the tone and the stepwise descent to "f," sometimes followed by a further stepwise descent to "c." All the phrases IIIe and IVe end with a final clause, in which the basic note of the mode "f" is reached from its upper neighboring note "g." This final descending step may be prolonged into movements like "g-a-g-f," "g-f-e-f' or "g-f-e-g-f." Phrase IVe contains an elaborate melisma, in which the melodic line reaches its culmination. In saeta A2 the phrase IVe is divided into two sub-phrases forming a relationship of antecedent and consequent. In both sub-phrases the phrase start "c-f" can be observed. To conclude the discussion on periods III and IV of the saetas D20, D21, Al and A2, their common structural features may be summarized in Diagram 6 as follows:

II: IV:

a c-L.a lyrics c-f.a lyrics

b a/bn"...a-g-f no lyrics a/bn"...a-g-f no lyrics

c c-/f/.. g-a_"2)-g lyrics c-/f/... g-a("')-g lyrics

d -/g/...f(-e-d-c) no lyrics f-/g/... f-e-d-c no lyrics

e ?... g-(...)-f lyrics (c-/f/)...-g-(...)-f lyrics

Diagram 6: The composition of periods III and IV of the saetas D20, D21, Al and A2. NB. The indication "no lyrics" means that the last vowel of the preceding lyrics is prolonged.

Now, an attempt will be made to include in this diagram the composition of the periods I and II. The four Musical Examples 2, 3, 4 and 5 show that in each saeta, period I contains a quejio and the text is only introduced in period II. Three out of the four examples (Musical Examples 2, 3 and 5) demonstrate that period I consists of two phrases (a+e); only Musical Example 4 depicts a first period made up of three phrases (a+b+e). In this saeta, the middle phrase of the first period could have been placed under column d, as its ending "f-e-d-c" is the same as the one of phrase IVd in all saetas. However, column b has been chosen because in the performance of saeta Al, there is no pause between phrase Ia and Ib. The result of this choice is that in a more generalized pattern, column b may contain phrases with a "short" ending on "f' as well as similar phrases with a prolonged ending "f-e-d-c." These endings will be summarized in one notation: "f-(e-

d-c)."
Period II of the four Musical Examples illustrates two different ways of composition. In Musical Examples 4 and 5 of the saetas Al and A2, period II consists of three phrases (a+ b + e). For saeta A2, the label "b" of the middle phrase of period II is now justified, as its ending fits the notation "f-(e-d-c)"

114 / 1998 YEARBOOK

FOR TRADITIONAL

MUSIC

in the same way as phrase Ib of saeta Al. Period II of saeta D20 and D21 (Musical Examples 2 and 3) is much simpler than the corresponding period of the saetas Al and A2 (Musical Examples 4 and 5). It is made up of just one phrase and is labeled "e" because of its closing character. On the basis of the preceding discussion, the composition of the four analyzed saetas may be summarized in two different diagrams. Diagram 7 applies to the saetas Al and A2 (both saetaspor martinete)and Diagram 8 to and D21 (martinete).The discussion of the next group of four D20 (carcelera) saetas will show that the pattern of Diagram 7 is the most common one. Therefore it will be referred to, from now on, as the standard pattern of the saetapor carcelera and the saetapor martinete or, in short, the standard pattern II.
a c-f...a
I 11 Ill IV quejio., 1" line,,r,, 2"dlinc, 4th line,,,,r

b a...a-g-f(-e-d-c)
() -

c c-/f/.. .g-a"'-g
. 2" line,,, 4h line,d

d f-/g/...f(-e-d-c)
? . -

e (c-/f/) ... g-(..)-f

qucjio,,, 1 line,,d 32"line 5"h line

based Diagram 7: Standard pattern II, the standard pattern of the saeta por carcelera/martinete, on the saetas Al and A2. In this and the following diagrams, the occurrence of a melisma in one of the columns is marked with a tilde (~). a c-f...a
I 11 111 IV quejfo,,. . 2ndline,,, 4h line,,,,

b a/b"'...a-g-f
. . -

c c-/f/... g-a"'-g
. 2ndline,,, 4' linee,,,

d f-/g/...f(-e-d-c)
. .

e ...g-(...)-f
quejfo,.d 1' line 3r line 5"hline

based on the saetas D20 Diagram 8: A less common pattern for the saetapor carcelera/martinete, and D21.

In order to get a better insight into the variability of standard pattern II in musical practice, we will now discuss the second group of four saetas. Three of them (Dl, D18 and A3) fit in the pattern rather well. The last one, D17, is clearly different. It may be called a double saeta, as it contains two different saeta poems instead of one. Beginning with saeta D18 (Musical Example 6), we notice two interesting details. The first concerns the number of periods, which is five instead of four. The extra period is a result of the way in which the second text line is set to music, that is to say, in the same way as the first line. The result is shown in Diagram 9.

KRAMER/PLENCKERS

SAETA FLAMENCA / 115

Mus.ex.5. Saetapormarinete A2.

a.
I. Ayay ya jAyayayaA ya! ya!

b.
-1-_:

fJjr^ ? --f-J n.rt^ Mi se ri cor - di-a a

rni.m
Iv.tp

jpsmr nm, smny

.,

j JLJ
blo

ya tu pue -

Jj -'-- Y [r =4
o

r P r. r 0r rz
[rr
prr rimr

^
-

JJya tu Ma - dre

--j
e_

jnnJrSrp

r nnr

Mus.ex.6. Saetaporcarcelera D18. a.

iAyai-ay! iYayay-hay! jYayayahay!

b.
i

ii. + Cuidaito__ j)^JJ 22DJJI cuidaito

J r Jr;rS ;.o
o-

jj J;^ m tJ ZJ p
r

J nI.tL jtN
Despacito

---^-C rL tJJ^ J'rJ l JJmJ

despacito_

--

iv.l,j
v.!$

jj S.n] i , p
J)J J

...J
queen a tierra

queen latierra-

, -- a
:Jp
e

TJrrJ m 2:mr G[[rr^3 22fy?J ;rZr J

rJ]
[rrq1^[f nJ^ J th---JrJB^J

quees mi Virgen_

--

Mus.ex. 7. Saetaporcarcelera D1.

A~a.
Ya- ya_ yi-a

b.

n .,-A |.

El queno o - re

^j ,j,.> D I11.14 ^
-x.

1 3JJ rJ $ Jr t j
e e__-

J cprlrrC rvm
>J
r

Crn U'E--...

no tie-ne sangre

;, ; ,rrc am r rJrr
ab.

r J1 J: *x:,

Mus.ex. 8. Saetaporcarcelera A3. X

iAyayai a i!

En elCal vario, en elCal vario

? ,r,,- J -j-. .>... _

se o - i

~ d. N"z"'rJ-' a El eco

-de

--

Me en cuentroso

116 / 1998 YEARBOOK FOR TRADITIONAL MUSIC

Mus e

5. (continued)

c.

d.

(.) I
(II) [{

J p JJ JZ=J <"1'^ o_ el perd6n

y en su do lor

j Jrserzg

J pIJJJ.

a- yaya

JJJjt J)T

a - yaya

Mus. ex. 6. (continued)

C.

d.

(I)LiA

(In.) 4

ov
(V)

j3jfj 14 DDJ una estrell

hay

jjJXjnr

nllj.;

? nJ^J'
quees mi Vrgen

rJ f

l J^ f ZJ*J?^

^ ^J'ns 4 jTj e delaPaz

c.
Mus. ex. 7. (oontinued)

JTonr nJ1Jn)J

Vamos alcielo

j J J JJr
d.

J]^

zJ xJ^ tJ

.)
(I.) !

^^J^ri on.)^-^ an as ve-nas

C.
Mus. ex. . (oontinued)

p-r

Jr

mm pld

JU2 >j
a - yayayaya

hi

jrz

j *j? j^jJ

(I.) aI.) 14 (in.,)^p JPJe

do

un mo ri bu

JrJJ -

.JT-1J

r .hr J

yaya

ov) io

lo ni

m2 rmu Pel mnu

do _

- da

A
v - va

KRAMER/PLENCKERS

SAETA FLAMENCA / 117

Mus. ex 5. (continued)

e.

(I.)

,if) ^ , j J
a_ siem-pr

J .TT 3
vas dan

^
do

PtN en,) i^ sie-te

JJ
-

pa-la

bras que- re

J,1

j. J ? za

J J

P JV4 bJIBPPJX J g CJa, (IV) r r Pr r rorrr Jcr Plr Madre mi-a de la_ Ca- be-za & r p J j..... (v) D j> 11 :)t :) j Madre__ mi - a de la Ca- be- za
Mus. ex. 6 (continued)

^ ^ ^^ fr

e.

ya_

ya ya i

o_
A

cos-ta - le- ros

(III.) o

J -J
j J
i

ca - pa-taz

(IV)

fp7i
e_-

7i Fj
de la Paz

(V.)
e.

o_ conel-la; va-mos al cielo conel-la Mus. ex 7 (ontinued)

prz_r,J. rlr3rr D r_ .dD rlrr r r

: .J~

11

ya_ ya
(II.) l-,l , ,t ~I ,t Z~.. I

al mi- rar-te

verte mi-raparcielo

en el ros-tro tume-le-na

_______---------

e.

Mus. ex 8. (continued)

(II.) t

que en su lamen

to

de ci - a

con mi cruz y mi a go ni a

118 / 1998 YEARBOOK FOR TRADITIONAL MUSIC

a c-f...a
I 11 111 IV V qluefo, --t I" l 2 " line,,,,, 3 irdne 4'h line,t

b a/b"'...a-g-f-e-d-c -**" -

c c-/f/...g-a-(...)-g
line,. line,d 4'h l in ,en

d f-/g/... f-e-d-c

e c-f/(...g-(..)-f
quejfo,d 1 !inend linend 4"' line,,,e 5'h l ined, 5'h line
2nd

4th line,,, 5th l ine,,,

Diagram

9: The construction of saeta D18.

The second detail concerns the alternation of musical phrases with and without words in the periods III and IV. The standard alternation is displayed in Diagram 7. In the performance, shown in Diagram 9, the standard alternation is not observed, since the fourth and fifth text lines already start at phrases IVd and Vd. Apart from these two details, Diagram 9 is rather similar to the standard pattern of Diagram 7. Saeta D1, reproduced as Musical Example 7, deserves some attention because of the way in which the musical structure is adapted to the four-line lyrics. This adaptation simply means that the last period of the standard pattern II (see Diagram 7) is skipped, as can be seen in Diagram 10.
a
c-f...a

b
a-bn"...a-g-f-e-d-c .

c
c-/f/...g- a"-g

d
f-/g/... f-e-d-c

e
c-/f...g-(...)-f

I
II III

quejfo,,,,,
1Vlinc,,.

.qIlejfoed
2nd line,nd

2 ndline,,,,

1'" line,nd 3rd, 4th line

Diagram

10: The construction of saeta D1.

Saeta A3, just like the preceding one, consists of three instead of four periods. It is reproduced in Musical Example 8. The last two periods are performed according to standard pattern II, as can be seen when the Diagrams 7 and 11 are compared. However, the preceding period, indicated as X in Diagram 11, is different. The modal character of the melody in this part is quite different from the one in the following periods. It seems as if the singer initially had the e-mode based on "f" in mind, but while singing decided to change to the c-mode, though maintaining the same tonic.
X
{nf {en", f, gn"-an"}

a c-/f/...a
2ndline,,,,, 4"hline,,,,

b a...a-g-f
-

c c-/f/...-a-g
2nd line,nd

d f-/g/...f(-e-d-c)

e f...g-(...)-f
3rd

{d, e, f, g(n",,
I II quejfo . + I" line

line

4th line nd

5'h line

Diagram 11: The construction of saeta A3.

In comparing this recording of Paquita G6mez with some of her other in the recordings, it seems that she generally performs the saetapor carcelera way displayed in Diagram 11, and she reserves the standard pattern II for

KRAMER/PLENCKERS

SAETA FLAMENCA / 119

the saetapor martinete (see A2, Musical Example 5). Probably this is a rather personal attempt to restore or maintain the musical difference between a and a saetapor martinete. None of the recordings of other singers saetapor carcelera distinction between the two styles. shown a similar examined have (saeteros)16 The last saeta of the carcelera/martinete group to be discussed here is D17, which shows a very peculiar structure. The lyrics consist of two stanzas. The seems hardly applicable standard pattern of the saeta por carcelera/martinete here, as the melismatic phrases of the columns b and d of this pattern are clearly lacking. The structure of this double saeta will be explained by discussing the consecutive columns displayed in Musical Example 9. Column a. The phrases contained in this column show three different ways of beginning: 1. the common start: "c-/f/... a"; it occurs at phrase Va and Xa (both a the last line of containing stanza); it is the regular start of the "a" phrases of standard pattern II; 2. the same start but ending on "blat" instead of "a"; it occurs at phrase IIa and IVa (first and third line of the first stanza); 3. a different start but ending just as the preceding one on "bfla," it occurs at the phrases Via, VIla and IXa (the first three lines of the second stanza).17 Column bc. There are no phrases in D17 that fit into the pattern "a/bfa. . . f(-e-dc)" or "c-f... g-a(a)-g," i.e., the melodic patterns of the phrases b or c of the standard pattern II. Instead, there are five phrases that can be regarded as a combination of the first half of pattern b and the second half of pattern c. Musical Example 9 shows that these phrases are put together in one column labeled "bc." Column d'. Common to a number of phrases of saeta D17 is the ending on "g." One of these shows a certain affinity to the melodic pattern: "f-/g/ . . . f(-e-d-c)" (which is the pattern of the phrases contained in column d of standard pattern II), insofar as it is identical to the beginning of that pattern. In order to express this affinity, the column containing the "g" ending phrases is labeled d'. Column e. This column contains the seven phrases that end on the tonic "f." The final sections of Ve and Xe, concluding the first and second stanzas, respectively, differ from the other ones because of their recitative-like repeat on the tonic "f" ("tan larga"; "espinas"). The quejot' is put in this column as well because of its conclusive character and because it lacks the expected formula "c-f ... a," with which the quej'o of standard pattern II starts. It may be clear from this discussion that Saeta D17 shows a lot of melodic details that occur in the saetas por carcelera and saetas por martinetediscussed before. Therefore, this saeta may be regarded as part of the cantejondo, as is expressed by the qualification "pormartinete"in Deval's commentary. The

120 / 1998 YEARBOOK FOR TRADITIONAL MUSIC

Mus.ex. 9. Saetapormartinete D17. a. b/c.

En el Huer-to

los

vos

m. %i
IV.|ibbbbp^j^
con ju- go de a-cei

p > n-rc rnn

o a

pren

x s
der ga

v.

I;
A

JJ .
tu - vi- ste tu

que

jn n ^.n rm o] nJ ; j -n JT3n j JJ _ nJ'

tu na a- mar be be

VI. i+ vii. i
VII. I

p p p

o-

tu Cal- va - no

: p p p =
mo- rao de ii - rio

co

ro - nai

to

ig;2

^J
-

con cor-de- les

^ s--t

a -

mar

nn>;
ra

r
o

a=

Mus. ex 9. (continued)

d'.

e.

.() l$
(II ) dF ;| * ^ J , a tS te lie- va-ron

JI,
tii - tin

liri tiri - a

j..

tiri- tii a

(III.)

(v.,!<
(v.) 1<
(VI.)4

tui

n >>l j
tu-vis-te

n
que be- be_

h..
aquel - la no

,.jhJj
-

J3j
che

.,.
tan lar-ga

J Ir
o

n
ca -

mi- nas

a-

(vn.) 14
(VHI.)

J^HJDJ o lon - dca- o

J) 5

Jtb

I%

J
o_

ji . i j~jl Jjp

a tuCalva-ri- o

(IX.)

(X)

l4 pp :p--14

ca mi - nas

Jr JjJ
con cor - de - les a- mar- ra - o__
. ' I

aaf)

J 4Ja 4r

. , ,

. II

espinas

KRAMER/PLENCKERS

SAETA FLAMENCA / 121

layout of the saeta, however, deviates considerably from the standard pattern for the saeta por carcelera/martinete.This deviation cannot be explained satisfactorily. An indication for it may be found in Deval's commentary on but clearly marked this saeta, where he speaks of a "saetalabeled por martinete by the archaic characteristics of Arcos.'8 At the end of this article, after reviewing the saeta vieja, this problem will be discussed in more detail. The saeta por siguiriya y cambio por martinete or por carcelera These terms are used in the saeta practice to indicate performances in or which a saeta por siguiriya is immediately followed by a saeta por carcelera a saeta por martinete.The change from the first to the second style is called The collection of Deval contains one such performance (Appendix "cambio." its lyrics are I, [6], D5). It is labeled saeta por siguirya y cambiopor carcelera; made up of two four-line stanzas. In order to answer the question whether the performance of a cambio saeta follows a fixed procedure, a number of additional saetas have been investigated. Two of these will be discussed here: a performance of a saetapor siguiriya cambiopor martinete (Appendix I, [1], A4) sung by Rufo, and a performance by Antonio Canillas (Appendix I, [7], A5). No specification has been given in the accompanying documentation of the cassette whether the saeta sung by Canillas is a saeta cambiopor martineteor a saeta cambiopor carcelera. The siguiriya part of the saetas examined is performed according to the standard pattern of the siguiriya. Therefore no further comment is needed on that part and only the second part of the cambiosaetas will be discussed. This part shows several melodic characteristics of the saetapor carcelera/martinete, but it fits poorly into standard pattern II. The cambiosaetas show a change of mode from the e-mode to the f-mode; however, there is no change of the tonic. In saeta D5, the cambio part consists of six phrases, as can be seen in Musical Example 10. Each of these phrases will be briefly discussed. Phrase 1 (first line of the stanza) moves around "e," embedded in the hexachord "sharp-dsharp-e-fsharp-gsharp-a of the c-mode.
Mus.ex. 10. Thesecondpartof the saetasiguiriya D5 y cambio porcarcelera

.1\$$$a
2.

j- - nas_ Y las go- Ion dri . As..

y pi-nas

n quia -r sg . d>asrtm..J ron

^
hrT ^^^ 22OZhJ
JO-s a_

r [y^^nt'$. lases \$$$$SS no

y

r IJr ryr

j3

3.

pu-die-ron descla - var lo

DDS P^^

TjTS^l

bJJJJ J^|J PJ

^t,

4. y consu pl-co_ de 1acluz,

5. u
6. y con su pi- co de la cuz.

122 / 1998 YEARBOOK FOR TRADITIONAL MUSIC

Phrase 2 (second line of the stanzas) starts with an ascent "e-gsharp-a-b"

and ends, after an elaborate melisma, with the melodic figure
"fharp-gnaturalfpharp," a transposition of the characteristic final formula of phrase c in standard pattern II. Phrase 3 (third line of the stanza) starts with an ascending fourth "b-/e/," the characteristic start of phrase a and c in standard pattern II. This ascent is followed by a melisma that ends with the stepwise movement "bharP-edsharp-csharp-b," the final formula of the phrases b and d in standard pattern II. Phrase 4 (fourth line of the stanza) starts again with the ascending fourth "b-/e/," but this time it is not lengthened by a melisma; the phrase ends on the reciting tone "e." Phrase 5 may be seen as a varied repeat of phrase 3 without lyrics, in which the initial ascent "b-e" is skipped. Phrase 6 may be seen structurally as a repeat of phrase 4, lengthened by a concluding melisma. Melodically, it is rather similar to the final phrases of the saetas A2, D18, and D1 (see Musical Examples 5, 6 and 7). These six phrases may be summarized in the following diagram. The numbers in the upper row of this pattern indicate the musical phrases. The second and third rows show the melodic patterns of these phrases and the order of the text lines. Finally, the fourth row refers to the columns of the standard pattern for the saeta por carcelera/martinete. 2 1 "e... e" "e---b...fl"P'-g-fr""" 1 line 2"d line new Icl 3 4 5 6 "h-/e/...e-dslL"-c"hA'P-b" "b-/e/...e"" "... e-d'%"'"-c"'LP-b" "b-/e/...e" 3' line 4" line 4' line Ib/di Ib/dl |el lel

Phrase: ,yrics: Stp.ll:

Stp= Standard pattern

part of saeta D5. Diagram 12: The construction of the cambio

The second cambiosaeta to be discussed is saeta A4 (Musical Example 11) performed by Rufo. Again, only the martinete part of the saeta will be examined, since the siguiriyapart is performed according to standard pattern I. The lyrics consist of four lines, each one corresponding with one musical phrase. As in saeta D5, the melodic line of the first phrase circles around "e," the tonic of a transposed c-mode. The second phrase is somewhat different from the corresponding phrase of saeta D5: it lacks the melodic
Mus. ex. 11. Thesecondpartof the saetasiguoriya A4 y cambio pormartinete
1. iAy, ay, ay! No se que mis va - lio mi o

2.

I^t'

que no lo puedo

r Jj r, Jpn j. j P

re- me-diar

j?j,t
ca -

Jj' j^iTj
ra

m.. .

3.
quan-do te mi - ro la

4. lp de llorar. orar. yoJmebhrto yo meharto de

llr

flT

KRAMER/PLENCKERS

SAETA FLAMENCA / 123

AS. / martmete Mus. ex. 12. Thesecondpartof the saetasigumnay cambloporcarcelera I.

,Ay-ay! Ro-sa-dasJ a-ma - nl_ las

2.
En tu pe- cho ,^f? sisX .> , , $ #, , p , , se *, 1 *1 X, -, cla-vo . en sangre se
.a, _ e -' o

3.

-*,

--

,s

s, ^X,> , S; >

y como tu dolor 4. conv ti y con-yer-tio

y.v

quise-te "

the closing formula that is typical for the c-phrases figure "fharp_gnaturalfharpp" of standard pattern II. The third and fourth phrases are rather similar to those of D5, although they are provided with elaborate melismas. There are no fifth and sixth phrases as in D5. Finally, we turn to saeta A5 (Musical Example 12), which is performed by Antonio Canillas. There is no indication in the documentation whether or por martinete.If this saeta is called saeta por siguiriyay cambiopor carcelera the cambiopart of this saeta is compared with the two other ones discussed before, it appears to be much the same as saeta A4, although the end of
phrase 2 shows the melodic formula
"fpharp_gnatural fharp"19

of saeta D5.

It is now possible to design a standard pattern for the cambio part of the saeta por siguiriyay cambiopor carcelera/pormartinete.Such a pattern may be regarded as a derivation from the standard pattern for the saetapor carcelera or por martineteby application of the following transformations: * the quejio and the first text line are merged into one phrase; * the characteristic melodic turns in different phrases are linked together in one phrase; * the melismatic phrases are omitted. By applying these transformations, the following diagram can be set up:
1 e" "e ...e quejio 1" line new 2 -... rle" -g-.-'Lr, ".e-P// 2"dline c 3 "b-/e/... e-d""'L-c''""'-bb. 3rdline b/d 4 "b-/el/.. e" 4" line e

Melody: Lyrics: Stp.ll:

Mel.: Lyr: Stp.ll: Stp. = Standard pattern

extension 5 -b" i "..e-d"'"'P-c'"rp ! b/d

6 "b-/e/... e" 4' line e

Diagram 13: Standard pattern III, the standard pattern of the second part of a saetapor siguiriya y cambio por carcelera/martinete.

This pattern will be referred to as standard pattern III. It does not seem to be much varied by the singers in their musical practice. The most important variation they perform is the doubling of the two final phrases. No cambio

124 / 1998 YEARBOOK FOR TRADITIONAL MUSIC

saetas are found with a second stanza containing more than four text lines, so the implications of five-line lyrics for the musical structure of a cambio saeta could not be studied. The saeta flamenca and the saeta vieja: an analytical comparison In the beginning of this article we mentioned that in 1949, Larrea published an extensive study on the saeta vieja based on material that he and other scholars had collected and published.20 His data base consisted of forty-one saetas. By analyzing and comparing these items, he came to the conclusion "that the typical saeta, as it has come down to us, consists of five phrases; its initial note is the first note of the scale and the melodic dominant and the final note are the third; the ending of the first phrase is also on this third note, while the ending of the second is on the fourth; the ending of the third phrase is on the third and the ending of the fourth on the fourth; so the first two phrases are parallel to the last two" (Larrea 1949:116).21 Musical Example 13, taken from Valencina, shows a saeta that fits the description of this "typical saeta" of Larrea. However, this saeta shows a number of characteristics of the saeta viejathat Larrea does not mention in his conclusion. They can be noticed in the few transcriptions that have been made accessible by scholars such as Pedrell and Schneider, and may be summarized as follows: * The melodic line is based on the e-mode. No saeta viejas in other modes could be found in the available literature. * The successive phrases of the saeta vieja are separated from each other by short caesuras, with the exception of the last two phrases, which are linked together by an enjambement. * The words are sung syllabically, although small ornaments, such as turns and apoggiaturas, occur regularly. * As a rule there are five text lines, corresponding to the number of musical phrases. If there are only four lines, as in the example above, then the third one is repeated, so the order of the text lines is 12334. This text line repeat may be called functional, as it brings the number of text lines in order with the number of musical phrases.22 Now the question arises whether the change of the saeta vieja to the saeta flamenca must be understood as a simple replacement of one form by another, or as a more complicated process in which the first is remodeled into the second. This problem will be approached from a music-analytical viewpoint by comparing a number of formal aspects of the two structures. The basic assumption is that a family relationship is more probable, as the two structures show more points in common. The first thing to point out is that the
Mus.ex. 13. Saetavieja,notated by Valencina.

$14 p r r

nd r pDP-3por a- hi

T--

r
dos,

Mi-rad- lo

vie - ne,

el me-jor de los na- ci

r p Br r r r I4 p a - ta - do de y ma-nos,
pies

p p p- a 5 a a- ta - do de
11

p'
ma nos

pies y

pr i r p 14y-el ros - - tro r tr pdes-co-lo-ri - do.

KRAMER/PLENCKERS

SAETA FLAMENCA / 125

saetaflamencashows a far greater variety of different structures than the saeta vieja. It has been demonstrated above that in the flamenco tradition there are at least three basic structures, referred to as standard patterns I, II and III, and that each of these structures is connected to a specific modal pattern or combination of patterns. The saeta vieja has only one standard form (ae bf ae bf ae), although it also seems to be related to a specific modal pattern. Secondly, the names that are used to indicate the different styles of the saeta, such as por siguiriya, por carcelera,etc., are taken from the cantejondo and they refer to specific forms of it. This means that the performers consider these styles to be a part of the flamenco tradition. The term saeta vieja is of a quite different class. Probably it does not originate from any musical practice but has been introduced by historians and musicologists. Thirdly, the saeta and the melismas. the quejzo viejalacks two major elements of the saetaflamenca: It may be objected that in the process of the development these elements could have been added to the saeta, as both the saeta vieja and the saeta por siguiriya have the same modal structure. Nevertheless, this does not explain how the other modal forms of the saetaflamenca came into existence. Finally, even the idea of a transformation of the saeta vieja into a saetapor siguiriya is rather problematic. It supposes not only the addition of elements such as the quejio and the melismas, but also a rather radical change of the syntactic layout. Diagram 14 displays this hypothetical transformation process in two steps. The first step shows the supposed addition of the quejio and the extension of a final phrase containing a textual repeat. The second step includes the subdivision into sub-phrases of the even phrases of the original saeta vieja - those of the left-hand column - enlarged with melismas and provided with different phrase endings.

2" line

3d line

" [ i n s |c^ ce.{j^'i Li411"'line line line .II..f

,,,5'

2a line 2"|

line

1 line

q!';
' ...e"
4"I line n

c-e .iee

\-----~4'" 1-mc-ni l

ce

line

1i

"

.../e/" line

7Ay!l"c
I|z?...c"|

c ine |_ 'Ic-c .. |

2nd line |"c-e...e"|

| |

|1^e .e "a||"-'

2 line I line -c' d-c ".-g...e"| |", g ./c/"

Saeta vieja

1" transformation

2"d transformation

Diagram 14: The hypothetical transformation of a saeta vieja into a saeta siguiriya involving two steps: 1. the addition of the quejiosand the extension of a final phrase containing a textual repeat; 2. the subdivision of the phrases with even numbered text lines - those of the left hand boxes in the frame marked "Saeta vieja" - into sub-phrases enlarged with melismas and provided

with different phrase endings.

If this transformation process had really taken place, it would probably have resulted in the formation of saetas exhibiting different stages of this transformation. However, such saetas have not been found. Meanwhile,

126 / 1998 YEARBOOK FOR TRADITIONAL MUSIC

D16. Mus.ex. 14. Saetavieja

a
b
a.\ | | b'-.|

to ^ 4
J$

IAy!

El co-ra-z6on_

p J

J P, J
;j j
-

el co-ra-zon

J J J J1 JjJiJ

p tras-pa-sa p JJ -

o__

lie - va mi Vr

J1J P J
p
j

j JJJJJ
gen_

JJ
ta.

bo -

) J JJ
J J jJJ

JJ

:) ;

j J

iQulenpu- die

PJJJ

J
ra a tu la -

J 2
y

wJ
J,,LT hiTr ,t
cau

j J J Jj J
a tu a o

iQuin pu- die - ra

J)J

; J i

a?t 14t b".^" |,

JJ , ,con-soar
y con-so-lar

PJ
la_

J'.,Jl,

.l'

pe-ni

j jjj,j J Ji.r. .la . -h.tas pe-nl " h. .j , JY JJ,.. - tas

-os

que te

san mis pe-ca

Deval's collection includes two saetas (D16 and D17) that are relevant in this discussion because they show features of both the saeta vija and the saeta flamenca. Musical Example 14 shows saeta D16, which has kept the traditional form of the saeta vieja, although it contains one extra repeat. At the same time, it displays the following features of the saeta por siguiriya: * the quejio at the start; it is rather modest, compared to the quejgoof a real saetaflamenca, but it is definitely present; * the repeat of the first words at the start of the saeta; * the melismas interpolated in many phrases or added at their endings. The typical saeta vieja form of saeta D16 is clearly shown in the following Diagram 15, in which the musical phrases are arranged in the same way as in Diagram 14 for the saetavieja. The musical phrases are indicated with plain letters; the letters between quotation marks refer to the phrase ending notes.

Diagram 15: The saetaviejastructure of saeta D16.

At first glance the structure of saeta D17, which has already been discussed, looks rather dissimilar from the structure of saeta D16. However, it is possible

KRAMER/PLENCKERS

SAETA FLAMENCA

/ 127

to arrange its constituent parts in a way similar to the one that has been displayed for saeta D16 in Diagram 15, if the text line is taken as the constituent unit. The result is Diagram 16, in which the two stanzas of D17 are displayed next to each other. Each box in the diagram contains a unit made up of a quejioor a text line and its corresponding musical phrases. The musical phrases are labeled with a letter that refers to the same letter of the columns in the paradigm of D17. The final note of the musical phrase, or pair of phrases, displayed in each box is put between quotation marks. The boxes are arranged for each stanza in two columns: the boxes having their musical ending on the tonic "f" are placed to the right-hand side; all other boxes are placed to the left-hand side.
First stanza of D17: Second stanza of D17:

quejio

line Il' line a,b/c: "-, g"

I'
a,:

a,e:"of' 3"'line, f' d,e:

|
K

line 2d d,b/c:"Lg" 3leline 4' line

a,b/c:

|2"d-line

ha |"4"'line5hln "'line

L Sh
"-4g"

L
a,b: "-|

"'line

5line 6

e:

line' "-~f'

,g"

e: "-r

Diagram 16: Lyrics distribution and phrase endings of saeta D17.

These two arrangements look quite different. However, the setup of the second stanza appears to be more or less the same as the setup of the saeta vieja in Diagram 14 and of saeta D16 in Diagram 15. In all cases the musical units, placed in the odd boxes (the right-hand side) end on the tonic of the mode, while the units of the even boxes (the left-hand side) end just one tone higher. Another resemblance is the repeat pattern of the text lines. In all cases the penultimate line is sung twice (in the saeta vieja the order of the lines is 12334; in saeta D16 it is 1233445; here it is 1234556). The first part of saeta 17, containing the first stanza, shows a setup that is basically identical to that of the second stanza. There are only two differences. A quejz'o has been added to the start, and the box containing the second text line is placed in the left-hand instead of the right-hand column. The added quejz'o that may be regarded as a clear case of aflameenquizacidn, is, the adoption of stylistic elements of the cantejondo.The place of the third box in the diagram is due to the final note "g" of the melody. If the singer had finished the melodic phrase on the tonic "f," the third box would have been placed in the right-hand column, and the distribution of the boxes would have shown the regular alternation between left and right of the second stanza and of the saetaviejain Diagram 14 and of saeta D16 in Diagram 15. A closure

128 / 1998 YEARBOOK FOR TRADITIONAL MUSIC

on "f" in the third box is musically quite acceptable, as the musical syntax of the relevant boxes shows that the second and fourth boxes function as antecedents to which the third and fifth boxes stand as consequents: (a,b/c + d,b/c) (a,b/c + d,e). Therefore, structurally D17 stands much closer to the saeta viea than to the saetapor carcelera/martinete. In fact, it may be regarded as a saeta vieja that is based on the c-mode instead of the e-mode. Unfortunately, the available data do not make it possible to conclude whether D17 is just an exceptional saeta or represents a type of saetaviejato which no attention has been devoted until now. If the latter case is true, the saeta vieja, like the saetaflamenca, is likely to be made up of various modal types, of which only one has been described until now. It may be clear now that, although both D16 and D17 show features of the saeta viea and the saetaflamenca,their basic structures are far more similar to the saeta viea type than to the flamenca type. Therefore, the saetas D16 and D17 may be mainly seen as saetas viejas that have been influenced by the saetaflamenca. In fact, they represent a subsequent development of the saeta vieja for which the term "saeta viea aflamencada" seems to be most appropriate. In support of this opinion, it may be stated that there is no evidence for the assumption that these saetas constitute an evolutionary link between the two saeta types, and it is unlikely that such evidence will show up in the future. This lack of evidence advocates the view that, as far as the music is concerned, the saetaflamencahas developed rather independently from the saeta vieja. Possibly, its appearance in the beginning of this century should not be seen as the gradual transformation of the existing saeta form, but rather as the replacement of that form by an improvisational form that already existed in the flamenco tradition. In any case, the question of the musical origin of the saetaflamenca remains unresolved. FOOTNOTES 1. "... bastaba una voz entonada y potente; y una dicci6n clara para que se entendiera lo que dice la copla." 2. By Larrea (1949), Pedrell (1917), Schneider (1946) and Valencina (1949), among others. 3. The authors discovered one published transcription of a saetaflamenca. See transcription nr 20 in Schneider (1946:80-81), which the reader after finishing this article will hopefully identify as a saeta por siguiriya. 4. "Umwandlung der volkstiimlichen Liedform in Flamencogesang." 5. "... sobre los estilos de la seguidiya o del martinete." 6. The transcription is reproduced in this article as Musical Example 13. 7. This annual festival is organized by the Pefia Flamenca los Cernicales. 8. The following saetas are addressed to Mary: D4, D9, D16, D18, D21, D24 and D25. The remaining ones are addressed to Christ. 9. These interviews were held in Granada and Sevilla by Corinna Kramer in preparation for her Master's thesis "De Saeta in de Semana Santa van Sevilla." 10. "El cante de expresi6n mas sentimental, triste y profunda de todo el cante flamenco."

KRAMER/PLENCKERS

SAETA FLAMENCA / 129

11. Lines that contain only seven syllables are considered to be octo-syllabic ones if the last syllable has an accent. This is the case in lines 2 and 4 of the copla. Line 5 does not fit into the octo-syllabic pattern. 12. The lyrics reproduced in this study are as given by Deval (Appendix I, [6]). Translation: With cold sweat and barefooted / my Jesus went along / losing all his strength / to carry the cross / and a good man starts to help him. 13. < quejido: lamentation. 14. See the numbers 1, 2, 4, and 6 of the "Grupo de las tonas." 15. In saeta D21 the phrase IVb consists of two sub-phrases, both ending on the final tone "f." 16. In this study the male form "saetero" is used generally as a collective form for both male and female performers of the saeta. 17. The order of the text lines of the copla in the saeta is 2-1-2-3-4-5, the common order of lines in dances like the sevillanas. 18. "Dite por martinete mais tres marquee par le fond archaique de Arcos." 19. The "gnatural" is ornamented with a turn-like decoration. 20. See note 2. 21. "Que la saeta tipo, como ha legado hasta nosotros, consta de cinco frases, tiene su comienzo en el primer grado de la escala y el dominante melodico y final en el tercero; que la terminaci6n de la primera frase lo es tambien en ese grado; el de la segunda, en el cuarto; el de la tercera, en el tercero, y el de la cuarta, en el cuarta, correspondiendose las frases dos a dos." 22. There is another way of fitting the number of text lines to the number of musical phrases, that is, by reducing the number of the latter. This is demonstrated by two transcriptions, numbered 21 and 21a, in Schneider (1946:80-81). The musical structures displayed in these transcriptions "e"/ 2nd phrase may be summarized as follows: 1st phrase (a)-> "ph"rp/ 4th phrase (a")-> "e." (a')-> "e"/ 3rd phrase (b)-> REFERENCES CITED Bartmann, Manfred, und Werner A. Deutsch 1994 "Untersuchungen zum Klangstil der andalusischen Saeta." In Berichte aus demICTM-Nationalkomitee Deutschland III, herausgegeben von Marianne Brocker, 137-156. Bamberg: UnivrBibliothek Bamberg. Criville y Bargall6 Jose 1983 El folklore musical. Historia de la musica espaiiola, 7. Madrid: Alianza Editorial. Garcia Matos, Manuel 1958 Una Historia del canteflamenco. Madrid: Hispavox, HH 1023 y 1024. Larrea, Arcadio de 1949 "La saeta." Anuario musical IV: 105-135. Miillerburg, Marion 1985 Die Saeta der Semana Santa. Ausdrucksform andalusischerPoesie und Rheinfelden: Schauble Verlag. Volksfrommigkeit. Pedrell, Felipe 1917-22 Cancioneromusical popular espanol. Vails: Castells.

130 / 1998 YEARBOOK FOR TRADITIONAL MUSIC

Rossy, Hipolito 1966 Teor'adel cantejondo. Barcelona: Credsa. (Panoramas A-Z 35). Nicolas Ruwet, 1972 "Methodes d'analyse en musicologie." In Language,musique,poesie, 100-134. Paris: Editions du Seuil. Schneider, Marius 1946 "A prop6sito del influjo arabe. Ensayo de etnografia musical de la Espafia medieval." Anuario musical I: 31-140. Valencina, Fray Diego de 1949 Historia documentada de la Saeta, los campanillerosy el rosario de la aurora. Sevilla: Edici6n Catolica Espafia. APPENDIX I Audio recordings Used (The additional saetas, not contained in the collection Deval in [6], match these documents in the following way: Al in [1]; A2 in [8]; A3 in [8]; A4 in [1]; A5 in [7].) [1] "Brochesde oro" Saetas. Paquita Gomez y Rufo. Coliseum C-0722. Ediciones Sefiador 1990.
Amaraito y sangrante = Cara A2: "Jesus cautivo" (Seguirilla-Martinete).Popular, Canta: Rufo. [Additional saeta no. A4] Amarga y de consolar = Cara B4: "Nuestraseiora de la soledad"(Martinete).Autor: Manolo Garrido. Canta: Rufo. [Additional saeta no. Al]

cantansaetas.Juanito Valderrama - Antoniita Moreno - Pepe [2] Los grandes Pinto - Pepe Marchena. BCN. Divucsa, 1995. [3] Magna Antologia del Cante Flamenco.Jose Blas Vega. Madrid: Hispavox, 1982. [4] Peregil- Saetas. Productores Jacinto Fernandez Gonzalez, Luis Maria de la Cueva Olie. Pasarela PSC 1066. [5] Saetas.Antofiita Moreno - Rocio Jurado - Marife de Triana - Gracia Montes. Indalo 35550, RCA. Saetas. Cantede la SemanaSanta Andaluza. Enregistres lors de la Semaine [6] Sainte a Jerez et au Studio Alta Frecuencia (Seville) en avril 93. Collection Flamenco Vivo - Directeur de collection: Frederic Deval. Audivis, Ethnic B6785, 1993.
[Saetasno. D1-D25]

[7] Saetas. Vol. 3. A. Canillas, Pepe Pinto, M. Vallejo y otros... SE-20-C-139.

Fods

[8] SemanaSanta 1994. Saetas. Paquita G6mez - Jose Perez "Peregil". iAl cielo con ella! Pasarela AMC 259.
En el calvario se oia = Cam A3. [Additional saeta no. A3] Misericordia siempre rasdando = Cara A4. [Additional saeta no. A2]

Madre mia de la Amargura / Rosadas amarillas = Cara A3: "A la Virgen de la Amargura" (A. Canillas), popular. [Additional saeta no. A5]

[9]

The History of CanteFlamenco:An Archive. 5 record set. Everest Records, Everest 3366/5, 1974.

KRAMER/PLENCKERS

SAETA FLAMENCA / 131

APPENDIX II saeta por siguiriya in the collection Deval. of the of the structures Survey
Note I: The arrangement of the following saeta structures in four columns (a, b, c and d) is the same as in the Diagrams 2 to 5. Note 2: The occurrence of a melisma in one of the columns is marked with a tilde (-); major rests between the successive musical phrases are indicated by a semicolon (;).

D2. Jos6 Flores Cascales

Ay-; "d-e"; -Ay--; "d-e" [2] que a ti te acaben-; [1] Scntao-; -: Ay-; D3. El Pel6n Ay-; Ay-; "d-e" -Ay-; [2] caminaba-; [4] por no poer-; [ ] Con sudor frio-;-; "d-e" mi Jcs6--;. "d-e" con la cruz-; [I] [3] [5] [2] Con sudor frio; con sudor frio; - y descarzo; La fuer-za-; le va fartando; y un hombe bue-no- le va ayuando: ca-mi-naba-; - mi Jesfi-. [I] Scnlao; scntao cn e-sc duro Icio; "d-e" de matar-; [3] y esos perros-judios tiranos; "d-e" cn ese duro Ic-fio-; [2] quc a ti tc acabcn- de matar-.

"d-e" y descar-zo-;

D4. Angel Vargas

Ay-;: Ay-: "d-e" --[2] y lo hago-;-; a mi mane-ra"d-e" - de; pe-na[4] al ver tu cara-; [1] [3] [5] [2] Para rezarte- he venido; El coraz6n- se me partc; y te- rezo- con- mi cantc; y lo- hago- a mi- manera.

Ay-;
D6. El Pel6n Ay-; Ay-; "d-e" Ay-;

rezarte-;-; [ ] Para

he veni-do-;

[2] y curarlc-; [3] que alli lo cspera-; [I] Desatarle-;

"d-e" las- hc~ rias-,

"d-e" - Mari-a-: - las muile-cas-;

[1 ] Desatarle- las muilecas; [3] y cn- trcgarsc- lo al Calvario; [5] cn- sus di-vinos brazos; [2] y cu~rarle- las herias-.

D7. Angel Vargas Ay-; Ay-; Ay-; [ ] Pilato-; por no perder; [2] el destino-; quc teni-a"d-e" - Mcsi-as-; - por no perder-;

[3] firm6sentencia-de muerte;

[5] lav6- sus ma-nos dcspucs; [2] el destino- que~ tenia.

el divino-; [4] contra

[

] Pila-to-;

D8. Diego de los Santos Bermudez "Rubichi" Ay-; Ay-; "d-e" [2] cuandoyo te ve--o; "d-e" de veni-;
Ay-; [4] y el rostro lo Ileva-; "d-e" - ;-descolori-o-; [ 1] Y a mi sc me parte -; -; "d-e" ~;- cl coraz6n-; [I] Y a mi se me parte-; el coraz6n; [3] con- los- ojitos- emparpitaos; [5] de los fuertes martirios [6] que te habian dao; [2] cuando- yo te veo de veni-.

D9. Diego de los Santos Bermudez "Rubichi"

Ay; Ay-; "d-e" Ay-; "d-e" pa mi ma-re-; [3] pa un habi-to-; "d-e" - del pcli-gro-; [61 Sacamclo-; [2,1] una limosna yo voy men'gando-;-; "d-e" - de puerta en puer-ta-; [3] pa un hi-bito pa mi nia-re. [1] En puerta-; De puer-ta; en puerta; yo voy [2] mcn'gando-; una limosna; [4] y pa un hermano [5] quc tcngo malo en la cama; [7] Virgencita de la Solea;

D10. Ana Pefia

Ay-; mejillas; Ay-; Ay-; [I] Llevas sangre-; Ilevas sangre-;-; en tus "d-e" de espinas-; [2] y una corona-; [4] y en una cruz de-;-; "d-e" dc ma-cra-; [4] y en una cruz de-;-; "d-e" de ma-era-; [3] que en- tu fren-te- te enclavaron; [5] alli te- cru-cificaron [5] alli te- cru-cificaron.

132 / 1998 YEARBOOK FOR TRADITIONAL MUSIC

D11. Enrique El Zambo

Ay-; "d-e" [3] y no te pue--; [5] y no paran-;-; "d-e" des alevanti-; "d-e" de jalar-te-; [1] Por tres veccs-; y por trcs veces-; a ti. pare mio- [2] ectiran el suclo: [4] te apoyas so-brc- tus manos; [6] csos picaros judios, niarvaos, indecentes-

D12 Curro de la Morena

Ay-; Ay-; Ay-; "d-e" encendi-os-; [2] son dos lirios-; - flori-o-; [4] tu pecho es un rosal-; [ I ] Las manos del Pren-dimien-to-; [I] Las manos; las manos-; dcl Prcndiniien-to; [3] qic- me- dan micdo el mirarlas; [5] y un- cri-santemo es tu cara: [2] son- dos- lirios enccndios.

D13. Joaquin El Zambo "El Cuchi"

Ay-; Ay-; [2] llcvan-; [4] gitanos-; [ 1 Cantan y lloran- al mismo tiempo; - la misma pe-na-; que- ti- llevas, [3] Prcndimiento. - de Santia-go-; [ I ] cantan y lloran- al mismo tiempo-

D14. El Barullo
Ay-; Ay-; Ay-; -[2] ni los mas ricos-; [4] porque al barrio-; [I ] Ni cl sabio-; "d-e" de Per-sia; "d-e" de los gita-nos-; "d-e" de Salomnn-;

I] Ni el sabio-; dc- Salom6n; [3] tie-nen mi satisfaci6n; [5] [y porque] se habia venio a- vivir Dios; [2] ni- los mis ri-cos- de Per-sia-.

D15. Joaquin El Zambo "El Cuchi" Ay--; Ay-; -Ay-; -[2] entr6 Pedro-; -; [3] "Yo no conozco-; [ I] En el patio-; y dij6 asi- a ese- hombre-; - de Caifa-; [I En cl patio; en cl paio- dc- Caffia; [3] "Yo- no- conozco a ese honibrc; [4] ni- su- discipulo fui", [2] entr6- Pedro y dij6 asi-.

D19. Pepe Montaraz

Ay-; Ay-; Ay-; -[2] y ya te clareaba-; [3] y en quicn tu mis-; [4) fue San Pedro-;-; "d-e" el di-a-; "d-e" confia-bas-; "d-e" y te neg6-; [ ] Tres ve-ces; trcs ve-ces- el gallo- cant6-; f I ] Trcs- veces el gallo- canto; [4] fue San Pe-dro- y te nego; [5] pa-que a ti te;:- maltrata-ran.

D22. Pepa de Benito

Ay-; Ay-; Ay-; -[2] la corona-; [3] quc son dejuncos-; [41 que le traspasan-; "d-e" del Seior-; "d-e" mali-nos-; "d-e" las sie-ncs-; [ I No son de rosa: no son de rosa- ni jazmin; [ I ] No son de- -?- ni- jazmin; [4] quc le traspasaban- las sienes; [5] a este-;- las sienes- a cste- cordc-ro divi-no.

D23. Manuel Valencia

Ay-; Ay-; "d-e" [Ay-; [2] de pasar-; 3] y lleva to-;-; [ ] Lleva sudi-; [1] Lleva suda-; Ileva suda-; sangre- pura; "d-e" tanlos quebrantos-; [3] y Ileva to el- co-lor- de lirio; "d-e" color de li-rio-; [4] su cuerpo- de- marfil santo "d-e" sangre pu-ra-; [2] de~ pasar tantos quebran-tos.

D24. Mariade los Angeles Jim6nez Dominguez

Ay-; Ay-; Ay-; --[2] herir tu rostro-; [3] siendo tu la-:~;-; [1 Como pueden-;-; "d-e" siquicra-; "d-c" mas hermo-sa"d-e" los dolo-res-; [ I ] Como pueden-; c6mo pueden-; los- dolores; [3] siendo- ti la- mis hermosa; [4] rei-na de la- priniavera; [2] herir tu ros-tro siquie-ra.

D25. Salmonete
Ay-; Ay-; "d-e" -Ay; [] Ni las flores; n las flores ni el bordao; "d-e" mis precio-sas-; [3] pucden aliviar las pcnas; [2]nilasjoyas-; "d-e" las pc-nas-; [4] de esa cara tan; hermosa [3] pucden aliviar-;-; [ I ] Ni las flores ni el bordao, [2] ni las joyas mis precio-sas-; "d-e" mis precio-sas-; [3] pueden aliviar las penas.