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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.

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The rhythmic structure in Flamenco is known as "Comps", although many Cante Jondo songs are sung "a palo seco", or without accompaniment, and therefore have no comps.

An example of this structure will be found in example number five, the Petenera, with a rhythm of 33222336, or in the Siguiriyas, which has a rhythm of 22332.

The juerga atmosphere is extremely difficult to record, as the greatness of the music sometimes occurs sporadically, and can be destroyed in a second by what may be perceived as an inappropriate word or action.

The challenge, then, is to describe this feeling, this "duende" that all great Flamencos possess, as it affects their music, language, dance, and culture, and translate it in fewer pages than it deserves, I feel it essential to include a cassette recording along with this paper, to which I will refer many times in the course of this document.

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.

This plucking technique is very similar to the function of the thumb in Flamenco guitar playing.

The oud is a lower pitched instrument, but one hears definite traces of the oud in the playing of Benitez El De Alcal in example number 3, as well as Roman El Granano in example number 5. We do know that Flamenco guitar changed forever in the latter part of the Nineteenth Century as guitarist Ramon Montoya began to integrate tremolos and arpeggios learned from his classical training and thus invented an entirely new school of Flamenco guitar.

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

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