Seguiriyas

18 May 2010

1. Article: Studies about Siguiriyas

2. Author: Jorge Santamaría del Pino

contact: jorgesantamariadelpino@hotmail.com

3.- Introducción

Musically there are many doubts about its origin, the Seguiriyas are the result of the Byzantine chant or Cante jondo of Córdoba in the 7th century. The first record is in the 9th century where a poet called Ziryab had collected on the Persian border melodies would be Seguiriyas. Currently believes that it is a song, bleak and tragic character that encloses the core values of what today is known as pure and deep, nothing could be further from reality the Siguiriya.

5.- Material

The origin of the Seguiriya is not well defined in history. Artists of the 19th, 20th and 21st centuries have tried unsuccessfully to achieve an evolution of the ' seguiriya ', but the difficulty of mark set times, towards impossible to keep the beat, and the proper use of the metronome measurements impossible. The beat is a sentence of twelve times associated with the of the Soleares but slightly more complex way. The main accents are 1-3-5-8-11

6.- Result

metronome	6	1	2	3	4	5	6	1	2	3	4	5	6
Siguiriya	11	12	1	2	3	4	5	6	7	8	9	10	11
Buleria	12	1	2	3	4	5	6	7	8	9	10	11	12
Siguiriya actual A	1	2	3	4	5	6	7	8	9	10	11	1	2
Siguiriya actual B	12	1	2	3	4	5	6	7	8	9	10	11	12

7.- Argument

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The Solea as the Bulería (Solea increased speed) start at 0, but seguiriya starts at 1, this is the reason that all the artists have devalued their sound. The fact to start at 1, produces the loss of the origin and shortening of the time from 12 to 11, therefore Siguiriyas must begin in the previous 11 ( preceding table)

I hope this article will resolve one of the most important troubles of Spanish Flamenco.This simple clarification will avoid confusion and allow artists around the world to work Seguriya on the metronome.