class of songs was also heard in the Moorish provinces. [See Seguidilla.]
(3) The third group is the most worthy of study. Of all Spanish songs those of Andalusia are the most beautiful. In them the eastern element is deepest and richest, and the unmistakable sign of its presence are the following traits:—first, a profusion of ornaments around the central melody; secondly, a 'polyrhythmic' cast of music—the simultaneous existence of different rhythms in different parts; and thirdly, the peculiarity of the melodies being based on a curious scale, which is apparently founded on the intervals of the Phrygian and Mixolydian modes.[1] Another indication of its presence is the guttural sound of the voices. Of these characteristics, the most obvious is the rhythm. In the Andalusian songs there are often three different rhythms in one bar, none predominating, but each equally important, as the different voices are in real polyphonic music. For example—
or it may be that the accents of the accompaniments do not at all correspond with the accents of the melody; thus:—
![\header {
tagline = " " % remove watermark at bottom
}
\layout {
\context {
\Score
\remove "Timing_translator"
\remove "Default_bar_line_engraver"
}
\context {
\Staff
\consists "Timing_translator"
\consists "Default_bar_line_engraver"
}
}
<<
\new Staff \relative a'{
\override Staff.Rest.style = #'classical
\time 3/4
\autoBeamOff a8^> a a^> a a^> a
a8.^>[ g16] e4^> r4
s8_"etc."
}
\new ChoirStaff <<
\new Staff \relative c' {
\time 3/8
\autoBeamOff <<g16[ b d f>> <<g,16] b d f>> g\rest <<g,16[ b d f>> r <<g,16] b d f>>
g\rest b,64[ c d f] g16\rest <<g,16[ b d f>> r <<g,16] b d f>>
c\rest <<g16[ c e>> c\rest <<g16 c e>> c\rest <<g16] c e>>
c\rest <<g16[ c e>> c\rest <<g16 c e>> c\rest <<g16] c16 e16>>
s8_"etc."
}
\new Staff \relative c, {
\clef bass
\time 3/8
\autoBeamOff g16^>[ d'\rest d e\rest g] b\rest
g,16^>[ g'\rest d e\rest g] b\rest
c,16^>[ g'\rest g b\rest c] d\rest
c,16^>[ g'\rest g b\rest c] d\rest
s8 % make it look consistent
}
>>
>>](http://upload.wikimedia.org/score/f/m/fm9286ak9pnftpgg7iyuml4x857dx2r/fm9286ak.png)
The songs of Southern Spain are generally of a dreamy, melancholy, and passionate type; especially the canas or playeras, which are lyrical. These are mostly for one voice only, as their varied rhythm and uncertain time preclude the possibility of their being sung in parts. In certain cases they are, however, sung in unison or in thirds. They always begin with a high note, sustained as long as the breath will allow; and then the phrase descends with innumerable turns, trills, and embellishments into the real melody. The canas are inferior, as regards simplicity both of poetry and music, to the dance-songs—fandangos, rondeñas, and malagueñas,[2] which have also more symmetry and more animation. They usually consist of two divisions; viz. the copla (couplet), and the ritornel, which is for the accompanying instrument, and is frequently the longer and the more important of the two, the skilful guitar-player liking to have ample scope to exhibit his execution.
The only other songs of Spain which remain to be noticed are the serenades, the patriotic songs, and the tiranas—these last not accompanied by dancing. In the artistic songs of Spain there is nothing on which it is profitable to dwell. If publishers' collections may be accepted as evidence, the favourite composers of these songs would appear to be Tapia, Sors, Leon, Garcia, Murgia, Saldoni, Eslava,[3] etc. But much the best songs of even these composers are those written in the national vein, and with a faithful adherence to national characteristics in respect of melody, harmony, and rhythm. The limited capabilities of the guitar and mandoline, the invariable accompanying instruments, have naturally dwarfed and stunted the development of accompaniments in Spanish songs.
The collection of Spanish songs in which the harmony is accurately transcribed is entitled—
'Cantos Españoles'; by Dr. Eduardo Ocon (with a preface in Spanish and German).
See also:—
'Echos d'Espagne'; by P. Lacome and J. Puig y Alsubide.
'Auswahl Spanischer und Portugiesischer Lieder für eine oder zwei Stimmen, mit deutscher Uebersetzung versehen'; by H. K.
And for information on the subject, see:—
'Historia de la Musica Española'; by Soriano Fuertes (4 vols.)
'Diccionario biografico-bibliografico'; by Saldoni. (4 vols.)
'History of Spanish Literature'; by Ticknor. (3 vols.)
Vol. 19, No. 1 of the 'Académie royale de Belgique'; Gevaert.
'Spanische Musik'; Mendel's Lexikon.
Portugal.
The popular music of Portugal bears a close affinity to that of Spain, especially in dance tunes. But there are clearly marked differences. The Portuguese is more pensive and tranquil than the fiery, excitable Spaniard; and as national music never fails to be more or less a reflection of national character, there is a vein of repose and subdued melancholy, and an absence of exaggeration in Portuguese music, such as are seldom, if ever, found in the more vivacious and stirring music of Spain. From the same cause, or perhaps because Moorish ascendancy was of briefer duration in Portugal than in Spain, there
- ↑ See 'An Introduction to the Study of National Music' (p. 350), by the late Carl Engel.
- ↑ Songs and dances often derive their names from the provinces or towns in which they are indigenous; thus rondena from Ronda, malagueña from Malaga, etc., etc.
- ↑ Though the last two composers have made contributions to song-literature, they have really won their laurels in other fields of music. [See Eslava, vol. i. p. 194b.]
