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Although true "duende" all too rarely occurs in the recording studio, examples ',4,5,6,7, and 8 on the cassette each contain it, with perhaps Ta Anica la Piriaca (no. NON-JONDO FLAMENCO With the passage of time, other forms of Spanish music interacted with the Cante to form two sub-groups, the "Cante Intermedio" and "Cante Chico", Cante Intermedio most often describes working conditions, and death, but with less of a tragic feel than Cante Jondo, In the Petenera, she is described as "the perdition of men", but we somehow sense that our singer will survive to love again, as opposed to Cante Jondo, in which he would certainly be hearing the death knell.

"Cante Chico"' can be characterized as being lighthearted, and mote "happy" than the other two forms.

THE FLAMENCO GUITAR The guitar was introduced to Spain through the Caliphate of Crdoba in the: Ninth Century A.

D., and although we are reasonably sure of the evolutionary process of the Cante, no one knows quite for certain when the guitar was first used to accompany Flamenco.

The Siguiriya has been described as singing of "pains without possible consolation, wounds that will never close, crimes without human redemption...

the lament of the earth that will never be the sky, the sea that knows no limits, the good-bye eternal, forever".

Again, the "Cana" in example two is perhaps the oldest style of Flamenco we know of: the singer is encouraged by shouts of '01e! I have included a recording of Montoya from the 1930s, accompanying the mournful voice of Antonio Chacn (example no.

One cannot gainsay the art of many of the performers of Cante Chico, in particular Nia de los Peines, who sings a wonderful Bulera on example number eight, She begins the song with a fairly straightforward rendition of the Latin standard "Cielito Lindo", but by second chorus has turned in into a raucous, fiery Flamenco song, saying 'if you think I don't love you, take this knife and plunge it into my heart! Nia de los Peines brings up another vital concept in the art of Flamenco, the quality of voice inherent in most great Cantaores: la voz Affill.THE LANGUAGE OF FLAMENCO I must make mention here of the particular dialect of Flamenco, as well as its non-Spanish influences, I know several Spaniards who have a difficult time understanding the dialect known as "Andalz," and for Americans who understand a little Spanish, Flamenco records can present a real challenge, Consider the following verse: En mita der ma In Castilian Spanish this would be spelled (and pronounced) En mitad del mar In Andalz, many last letters are dropped off words, the letter 's' if contained in the middle of a word is rarely pronounced, and the diphthong sounding like "aahheu" often ends-words ending verses as well as at natural breathing points (my examples are replete with the latter.Notice, for example, Mara Vargas' pronunciation of the second "Piconera" in example no. This emphasis on regional dialect, as well as the content of many Cante Jondo verses, has drawn many to compare Flamenco with the Blues in the United States.THE MOOD OF CANTE JONDO The essential mood of the 'cante', like many American Blues songs, is one of despair and tortured emotions.This "pena negra", or black sorrow, can be expressed profoundly merely by the mournful repetition of the word "Ay!

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HISTORY OF FLAMENCO Some scholars of Flamenco believe that Cante Jondo evolved out of a mixture of early Byzantine, Arab, Jewish and Gypsy cultures in Andaluca.

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