{"id":25681,"date":"2021-04-10T22:36:53","date_gmt":"2021-04-10T20:36:53","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=25681"},"modified":"2021-04-10T22:36:53","modified_gmt":"2021-04-10T20:36:53","slug":"what-ever-became-of-tientos","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/estela-flamenca\/what-ever-became-of-tientos\/","title":{"rendered":"What ever became of tientos?"},"content":{"rendered":"

Once upon a time there was a flamenco form known as \u201ctientos\u201d\u2026well yes, it does continue to exist, so why do I have the feeling it\u2019s getting away from us?  It\u2019s really tangos from C\u00e1diz, but with a rhythmic lilt provided by the guitarist\u2019s right hand which executes a kind of sexy tanguillo strum with a hiccup.  Investigators tell us the clever invention can be attributed to Enrique el Mellizo (C\u00e1diz 1848-1906).<\/p>\n

Tientos was flamenco\u2019s binary answer to sole\u00e1, measures divisible by 2 or 4 rather than 3.  Once a jewel in the flamenco crown, tientos has become fast-food flamenco seldom heard except as a disposable introduction to tangos, resulting in tientos-tangos<\/em>, and seldom danced on its own.  A cante form on the express track toward obsolescence. Years ago, when I checked the database of the Centro Andaluz de Documentaci\u00f3n del Flamenco, it showed 210 recordings of \u201ctientos tangos\u201d, and 1552 listed as \u201ctientos\u201d.  Those figures are surely outdated, possibly even tied or reversed by now.  The body is still warm, but the plug has been pulled, and it\u2019s only a matter of time before tientos becomes a form in disuse.<\/p>\n

I certainly defend the absolute autonomy of singers who must have their creative space, but letting tientos fall through the cracks only diminishes the repertoire.  Imagine if sole\u00e1<\/em> became absorbed as the introduction to some other cante\u2026 it\u2019s unthinkable. <\/p>\n

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Manuel Agujetas. Foto: Estela Zatania<\/p><\/div>\n

 <\/p>\n

There are other similar situations of cantes becoming auxiliary bits to prepare ears and minds for the main cante. Livianas<\/em> to preface serranas<\/em> is a clear example, and no real harm done, since liviana is a relatively weak form that gracefully takes on the introductory role.  Prefacing malague\u00f1a<\/em> with grana\u00edna<\/em> was a creation of Aurelio Sell\u00e9s, but the respective forms have remained autonomous.<\/p>\n

The music of tientos is more complex than that of the sole\u00e1\/siguiriya branches of the flamenco family tree. Surprising harmonies and unexpected deviations make for rich musical variety without sacrificing communicative power.  Camar\u00f3n and Paco gave great dimension to festive styles such as tangos, feeding the boom of tientos-tangos.<\/p>\n

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\"\"<\/a><\/p>\n

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Looking back at historic singers, Pastora Pav\u00f3n (1890-1969) found in tientos an acrid beauty that had escaped others.  Jacinto Almad\u00e9n (1899-1968), an underappreciated artist, delivered this form with a delicacy that was never saccharine. Caracol took easily to tientos with his big personality, and singers from C\u00e1diz \u2013 Peric\u00f3n, Manolo Vargas, La Perla, Chano and others \u2013 had a natural affinity for tientos that came of age as the tempo became more relaxed.<\/p>\n

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\"\"<\/a>

Gaspar de Utrera and Antonio Moya. Photo: Estela Zatania<\/p><\/div>\n

 <\/p>\n

Gaspar de Utrera (1932-2008), the innocent bohemian, unlocked the potential of tientos, infusing the depth they promised.  His concept of cante, always direct and honest, hermetic and highly personalized, went well with his plaintive voice to interpret this form.  He squeezed out more flamenco angst from tientos than other singers manage to locate with siguiriyas, and his influence is detected in young singers when you hear two or three verses of his in a row: Los siete sabios de Grecia\u2026, Presecito en la c\u00e1rcel\u2026, En la casa de la pena\u2026, Agua fresca quien la bebe\u2026, Al escucharlo tembl\u00e9\u2026 <\/em>among others he regularly interpreted.<\/p>\n

In Jerez, the serious intensity of Manuel Agujetas (1939-2015) caused him to reject even the slightest hint of a frivolous ending for tientos.  Terremoto de Jerez<\/em> (1934-1981) would usually tack on a very brief tango closure, and from this same generation of maestros, was Antonio N\u00fa\u00f1ez el Chocolate<\/em> (1930-2005) who would add a short tango verse to close out his tientos.<\/p>\n

Jos\u00e9 Menese (La Puebla de Cazalla, 1942-2016), with the verses of Francisco Moreno Galv\u00e1n, such as the famous Se\u00f1\u00f3 que va a caballo, y no daba los buenos d\u00edas, si el caballo cojeara, otro gallo cantar\u00eda, <\/em>was among the last singers to respect the integrity of tientos as a song form in its own right.  He hunted down the duende<\/em>, and rarely (never?) used the form as a prelude to tangos.<\/p>\n

Miguel Poveda has, on occasion, sung tientos in the traditional manner, with only a brief tango bit at the end.  And today\u2019s veteran maestros, Fosforito, Mar\u00eda Vargas and Pansequito among others, have recorded tientos with only the traditional short tango ending, although on other recordings they have also been open to a longer excursion into tangos.  Generally speaking, the older the singer, the less likely they are to end tientos with anything more than a short snippet of tangos.<\/p>\n

Who had the idea of relegating a form so full of possibilites to a mere opening act for tangos? Verses and melodies are shared easily by both forms, but with different feeling and intent. Tientos, heavy, languid and claustrophobic. Tangos, with a canastero<\/em> feel, catchy melodies from Granada and Extremadura, or the occasional pop song that sneaks in when no one is looking.<\/p>\n

 <\/p>\n

\"\"<\/a>

Miguel Poveda. Foto: Estela Zatania<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Jos\u00e9 Menese. Foto: Estela Zatania<\/p><\/div>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Who had the idea of relegating a form so full of possibilites to a mere opening act for tangos? Tientos, heavy, languid and claustrophobic.<\/p>\n","protected":false},"author":9,"featured_media":25669,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[68],"tags":[],"class_list":["post-25681","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-estela-flamenca"],"yoast_head":"\nWhat ever became of tientos? - Archivo Expoflamenco<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/expoflamenco.com\/archivo\/en\/estela-flamenca\/what-ever-became-of-tientos\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What ever became of tientos? - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"Who had the idea of relegating a form so full of possibilites to a mere opening act for tangos? 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