Soleá
Encyclopedia
"Soleares" is one of the most basic forms or "palos" of Flamenco
music, probably originated around Cádiz
or Seville
in Andalusia
, the most southern region of Spain
. It is usually accompanied by one guitar only, in phrygian
mode "por arriba" (fundamental on the 6th string); "Bulerías por soleá" is usually played "por medio" (fundamental on the 5th string).
, they normally choose different "coplas" (stanzas), with different melody, and combine them according to the inspiration
of the moment or to a previous plan. Even if the singer has a previous plan, he often alters it on the spur of the moment. These stanzas are independent in subject matter from one another.
The content of the lyrics is generally serious in nature, as appropriate to the solemn air of the music. They often have a sententious tone and convey a feeling of intimate pain. Sometimes despair, more typical of seguiriya, can also appear. However, it is difficult to generalize: sometimes a less serious stanza can turn up in the middle of other serious ones, and irony
is frequent.
The stanza
of the soleá has three or four lines. In four-line stanzas, the second and fourth line are in assonant
rhyme
, while the first and third are free. In three-line stanzas, the assonance is between the first and the third. Some examples:
No se me daba cuidao
me hago cargo que ha sío un ensueño
y a lo pasaíto pasao.
Translation:
I didn't mind
I know it was just a dream
and past things are past.
Fui piedra y perdí mi centro
y me arrojaron al mar
y a fuerza de mucho tiempo
mi centro vine a encontrar
Translation:
I was a stone and lost my centre
and was thrown into the sea
and after a very long time
I came to find my centre again.
This type of stanza is the cuarteta romanceada, one of the oldest and most frequent in Spanish poetry
, and is derived from the medieval "Romance" poetic form, a type of traditional epic poetry that has survived in both learned and popular literature to our days.
The melody of a soleá can demand repeating some lines, altering their logical order, or cutting the lines, sometimes even in the middle of words. For example, as stanza like:
En mis cortas oraciones
le pido a dios llorando
que me quite la salud
y a ti te la vaya dando
Translation:
In my short prayers
crying, I ask God
to deprive me of my health
and to give it back to you
Can be rendered in song like:
A Dios llorando yo le pido
le pido a Dios llorando
yo le pido a Dios llorando
que me quite la salud
y a ti te la vaya dando
en mis cortas oraciones
que yo le pido a Dios llorando
The melody of a soleá stanza usually stays within a limited range (usually not more than a 5th). Its difficulty lies in the use of melisma
and microtones
, which demand great agility and precision in the voice. It is usual to start a series of soleares with a more restrained stanza in the low register, while continuing to more and more demanding ornaments in a higher register. The series is quite often finished with a stanza in a much more vivid tempo
in the relative Major mode
.
group, like Alegrías
, Romeras, Mirabrás, Caracoles
or, to a certain extent, Bulerías
. It consists of 12 beats
, and could be described as a combination of triple and duple beat bars, so it's a polymetre form, with strong beats at the end of each bar. The basic "skeleton" of the soleá rhythm, thus, follows this pattern:
----
----
(Each number represents a beat. Blue squares mean weak beats, while big brown dots are strong beats.)
Nevertheless, this is just an underlying structure, like a foundation, a kind of grid where flamenco artists creatively draw the rhythm by means of subdivisions, articulation, and less commonly, syncopation
and accent displacement.
The first example of "palmas" is a very common, simple pattern:
----
----
Notice that palmas are often (though by no means always) silent during beats 4 to 6, even if beat number 6 is a "strong one". This is specially true when no dancing takes place: the main interest there is the singing (or playing) and too much percussion can take attention away from the music. Those beats though are often marked when there is dance, or when performing other palos in the same metre like Alegrías
or Bulería por soleá. However, these are not to be taken as hard-and-fast rules, but just as general guidelines.
A more complex example.
The small orange squares should be played extremely softly.
The above are just two examples among the variety of variations.
When there are two or more people playing palmas, one of them usually plays a base pattern, emphasizing the regular beats, while another plays the upbeats (the "contras", short for "contratiempos").
The soleá can be played rubato
, that is, slowing down and speeding up the tempo
to enrich its expressive quality. Of course regular tempo is mandatory when it is played and sung to accompany a dancer.
To adapt to the singer's vocal range, guitarists can use a "cejilla" (capo) to play in any key while preserving the known chord positions. Modern guitarists often play soleá using other chord positions or even changing the tuning of the guitar to experiment with new sounds, especially in solo instrumental pieces.
The typical flamenco progression IV-, III, II, I (an altered Phrygian cadence) is heard several times during the development of the song. In E altered Phrygian, the progression would be Am, G, F, E (the E chord should be Em in a diatonic Phrygian cadence, but its diatonic third - g - is altered to a g#).
A usual progression with a four-line stanza is the following:
And a usual progression with a three-line stanza:
A guitarist, when playing soleá, will combine:
- "llamadas" (the "call") on the Ist degree of the Phrygian altered cadence (in E, E major)
- "compas" (the standard accompaniment figure)
- "falseta" (plur. "falsetas"), melodic ideas played between different stanzas.
All sections have an even number of "compas" and are comparable in duration.
and Seguiriyas. The earliest known mention of them, referred to as "soledades", is that of Spanish poet Gustavo Adolfo Bécquer
, in 1862. The existence of them prior to 1850 is often stated, but has never been proved. Folklorist Demófilo assured, as early as 1879, that they derived from the "coplas de jaleo", a kind festive song style in a very lively rhythm, apparently very popular in the mid 19th century. These facts contradict other views according to which the soleá would be the origin of the rest of flamenco "palos" and was from the beginning a serious and solemn style. In their primitive stages, soléa, as well as jaleo, seem to have been linked to Gypsy environments in several towns of the provinces of Cádiz
and Seville
.
The golden age of the soleá is considered to be the last quarter of the 19th century, at the time when the "café cantante" (musical café) was the preferential venue for flamenco artists. Most of the soleá melodies we know have been attributed to singers who were active at that time. With the turn of the century, other "palos" like those belonging to the group "cantes libres" like malagueña, tarantas, or Cartageneras
took the supremacy. At the times of the "Ópera Flamenca", it was further displace by Fandangos, popular songs fashioned to the Bulerías
rhythm and "cantes de ida y vuelta" like the Guajiras.
During the 50s-70s, at the time of the neo-traditionalism of Antonio Mairena
and his school, the style went back into favour, becoming, together with Seguiriyas and Tonás
one of the most valued by flamenco artists, critics and public. The soleá went again into disfavour after the birth of New Flamenco
. Followers of Camarón de la Isla
and his school tend to pay less attention to traditional, "hard" styles, and favour other more festive "palos" like Bulerías
or tangos, which are easier to mix with pop and commercial music influences.
. They are very difficult to classify, owing to their large number of styles and variations. Most attributions to a particular singer are also doubtful.
----
Flamenco
Flamenco is a genre of music and dance which has its foundation in Andalusian music and dance and in whose evolution Andalusian Gypsies played an important part....
music, probably originated around Cádiz
Cádiz
Cadiz is a city and port in southwestern Spain. It is the capital of the homonymous province, one of eight which make up the autonomous community of Andalusia....
or Seville
Seville
Seville is the artistic, historic, cultural, and financial capital of southern Spain. It is the capital of the autonomous community of Andalusia and of the province of Seville. It is situated on the plain of the River Guadalquivir, with an average elevation of above sea level...
in Andalusia
Andalusia
Andalusia is the most populous and the second largest in area of the autonomous communities of Spain. The Andalusian autonomous community is officially recognised as a nationality of Spain. The territory is divided into eight provinces: Huelva, Seville, Cádiz, Córdoba, Málaga, Jaén, Granada and...
, the most southern region of Spain
Spain
Spain , officially the Kingdom of Spain languages]] under the European Charter for Regional or Minority Languages. In each of these, Spain's official name is as follows:;;;;;;), is a country and member state of the European Union located in southwestern Europe on the Iberian Peninsula...
. It is usually accompanied by one guitar only, in phrygian
Phrygian mode
The Phrygian mode can refer to three different musical modes: the ancient Greek tonos or harmonia sometimes called Phrygian, formed on a particular set octave species or scales; the Medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter...
mode "por arriba" (fundamental on the 6th string); "Bulerías por soleá" is usually played "por medio" (fundamental on the 5th string).
Lyrics
When singers sing soleá, as with most palosPalo (flamenco)
A palo is the name traditionally given in the flamenco environment for the different musical forms that constitute the traditional musical heritage of flamenco...
, they normally choose different "coplas" (stanzas), with different melody, and combine them according to the inspiration
Artistic inspiration
Inspiration refers to an unconscious burst of creativity in a literary, musical, or other artistic endeavour. Literally, the word means "breathed upon," and it has its origins in both Hellenism and Hebraism. The Greeks believed that inspiration came from the muses, as well as the gods Apollo and...
of the moment or to a previous plan. Even if the singer has a previous plan, he often alters it on the spur of the moment. These stanzas are independent in subject matter from one another.
The content of the lyrics is generally serious in nature, as appropriate to the solemn air of the music. They often have a sententious tone and convey a feeling of intimate pain. Sometimes despair, more typical of seguiriya, can also appear. However, it is difficult to generalize: sometimes a less serious stanza can turn up in the middle of other serious ones, and irony
Irony
Irony is a rhetorical device, literary technique, or situation in which there is a sharp incongruity or discordance that goes beyond the simple and evident intention of words or actions...
is frequent.
The stanza
Stanza
In poetry, a stanza is a unit within a larger poem. In modern poetry, the term is often equivalent with strophe; in popular vocal music, a stanza is typically referred to as a "verse"...
of the soleá has three or four lines. In four-line stanzas, the second and fourth line are in assonant
Assonance
Assonance is the repetition of vowel sounds to create internal rhyming within phrases or sentences, and together with alliteration and consonance serves as one of the building blocks of verse. For example, in the phrase "Do you like blue?", the is repeated within the sentence and is...
rhyme
Rhyme
A rhyme is a repetition of similar sounds in two or more words and is most often used in poetry and songs. The word "rhyme" may also refer to a short poem, such as a rhyming couplet or other brief rhyming poem such as nursery rhymes.-Etymology:...
, while the first and third are free. In three-line stanzas, the assonance is between the first and the third. Some examples:
- With three verses:
No se me daba cuidao
me hago cargo que ha sío un ensueño
y a lo pasaíto pasao.
Translation:
I didn't mind
I know it was just a dream
and past things are past.
- With four verses:
Fui piedra y perdí mi centro
y me arrojaron al mar
y a fuerza de mucho tiempo
mi centro vine a encontrar
Translation:
I was a stone and lost my centre
and was thrown into the sea
and after a very long time
I came to find my centre again.
This type of stanza is the cuarteta romanceada, one of the oldest and most frequent in Spanish poetry
Spanish literature
Spanish literature generally refers to literature written in the Spanish language within the territory that presently constitutes the state of Spain...
, and is derived from the medieval "Romance" poetic form, a type of traditional epic poetry that has survived in both learned and popular literature to our days.
The melody of a soleá can demand repeating some lines, altering their logical order, or cutting the lines, sometimes even in the middle of words. For example, as stanza like:
En mis cortas oraciones
le pido a dios llorando
que me quite la salud
y a ti te la vaya dando
Translation:
In my short prayers
crying, I ask God
to deprive me of my health
and to give it back to you
Can be rendered in song like:
A Dios llorando yo le pido
le pido a Dios llorando
yo le pido a Dios llorando
que me quite la salud
y a ti te la vaya dando
en mis cortas oraciones
que yo le pido a Dios llorando
Musical analysis
Soleá is one of the flamenco palos with the highest number of traditional songs, and it is particularly appreciated by knowledgeable artists and audiences. It is very demanding for singers, as they have to strive to be creative and, at the same time, respectful of the tradition, and they have to succeed in finding a good balance between melodic and rhythmic sides, both extremely difficult. It demands great vocal faculties, and the singer should achieve a balance between passion and restraint.The melody of a soleá stanza usually stays within a limited range (usually not more than a 5th). Its difficulty lies in the use of melisma
Melisma
Melisma, in music, is the singing of a single syllable of text while moving between several different notes in succession. Music sung in this style is referred to as melismatic, as opposed to syllabic, where each syllable of text is matched to a single note.-History:Music of ancient cultures used...
and microtones
Microtonal music
Microtonal music is music using microtones—intervals of less than an equally spaced semitone. Microtonal music can also refer to music which uses intervals not found in the Western system of 12 equal intervals to the octave.-Terminology:...
, which demand great agility and precision in the voice. It is usual to start a series of soleares with a more restrained stanza in the low register, while continuing to more and more demanding ornaments in a higher register. The series is quite often finished with a stanza in a much more vivid tempo
Tempo
In musical terminology, tempo is the speed or pace of a given piece. Tempo is a crucial element of any musical composition, as it can affect the mood and difficulty of a piece.-Measuring tempo:...
in the relative Major mode
Major scale
In music theory, the major scale or Ionian scale is one of the diatonic scales. It is made up of seven distinct notes, plus an eighth which duplicates the first an octave higher. In solfege these notes correspond to the syllables "Do, Re, Mi, Fa, Sol, La, Ti/Si, ", the "Do" in the parenthesis at...
.
Metre (compás)
The metre or "compás" of the soleá of the is one of the most widely used in Flamenco. Other palos have derived their compás from the soleá, including Bulerías por soleá, the palos in the CantiñasCantiñas
The Cantiñas is a group of flamenco palos , originated in the area of Cádiz in Andalusia . They share the same compás or rhythmic pattern with the soleá and are usually sung in a lively rhythm...
group, like Alegrías
Alegrías
Alegrías is a flamenco palo or musical form, which has a rhythm consisting of 12 beats. It is similar to Soleares. Its beat emphasis is as follows: 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 [12]. Alegrías originated in Cádiz. Alegrías belongs to the group of palos called Cantiñas and it is usually played in...
, Romeras, Mirabrás, Caracoles
Caracoles
The Caracol people are an English-based creole speaking people who have been established in Northern Honduras since the early 19th century and are mainly of European British-Caribbean descent...
or, to a certain extent, Bulerías
Bulerias
Bulería is a fast flamenco rhythm in 12 beats with emphasis in two general forms as follows:1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 [12]or...
. It consists of 12 beats
Beat (music)
The beat is the basic unit of time in music, the pulse of the mensural level . In popular use, the beat can refer to a variety of related concepts including: tempo, meter, rhythm and groove...
, and could be described as a combination of triple and duple beat bars, so it's a polymetre form, with strong beats at the end of each bar. The basic "skeleton" of the soleá rhythm, thus, follows this pattern:
----
----
(Each number represents a beat. Blue squares mean weak beats, while big brown dots are strong beats.)
Nevertheless, this is just an underlying structure, like a foundation, a kind of grid where flamenco artists creatively draw the rhythm by means of subdivisions, articulation, and less commonly, syncopation
Syncopation
In music, syncopation includes a variety of rhythms which are in some way unexpected in that they deviate from the strict succession of regularly spaced strong and weak but also powerful beats in a meter . These include a stress on a normally unstressed beat or a rest where one would normally be...
and accent displacement.
The first example of "palmas" is a very common, simple pattern:
----
----
Notice that palmas are often (though by no means always) silent during beats 4 to 6, even if beat number 6 is a "strong one". This is specially true when no dancing takes place: the main interest there is the singing (or playing) and too much percussion can take attention away from the music. Those beats though are often marked when there is dance, or when performing other palos in the same metre like Alegrías
Alegrías
Alegrías is a flamenco palo or musical form, which has a rhythm consisting of 12 beats. It is similar to Soleares. Its beat emphasis is as follows: 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 [12]. Alegrías originated in Cádiz. Alegrías belongs to the group of palos called Cantiñas and it is usually played in...
or Bulería por soleá. However, these are not to be taken as hard-and-fast rules, but just as general guidelines.
A more complex example.
The small orange squares should be played extremely softly.
The above are just two examples among the variety of variations.
When there are two or more people playing palmas, one of them usually plays a base pattern, emphasizing the regular beats, while another plays the upbeats (the "contras", short for "contratiempos").
The soleá can be played rubato
Tempo rubato
Tempo rubato is a musical term referring to expressive and rhythmic freedom by a slight speeding up and then slowing down of the tempo of a piece at the discretion of the soloist or the conductor...
, that is, slowing down and speeding up the tempo
Tempo
In musical terminology, tempo is the speed or pace of a given piece. Tempo is a crucial element of any musical composition, as it can affect the mood and difficulty of a piece.-Measuring tempo:...
to enrich its expressive quality. Of course regular tempo is mandatory when it is played and sung to accompany a dancer.
Harmonic structure
Soléa develops in (altered) Phrygian mode "por arriba" (fundamental on the 6th string), with the III degree of the mode altered to a major 3rd when resolving to I.To adapt to the singer's vocal range, guitarists can use a "cejilla" (capo) to play in any key while preserving the known chord positions. Modern guitarists often play soleá using other chord positions or even changing the tuning of the guitar to experiment with new sounds, especially in solo instrumental pieces.
The typical flamenco progression IV-, III, II, I (an altered Phrygian cadence) is heard several times during the development of the song. In E altered Phrygian, the progression would be Am, G, F, E (the E chord should be Em in a diatonic Phrygian cadence, but its diatonic third - g - is altered to a g#).
A usual progression with a four-line stanza is the following:
- first line: E7, Am,
- transition to 2nd line: Am, G, (or F, G)
- 2nd line: F, E
- 3rd line: G7, C (or C7)
- 4th line: Am, G, F, E, F, E
And a usual progression with a three-line stanza:
- first line: E7, Am
- 2nd line: G7, C
- 3rd line: Am, G, F, E, F, E
Structure of the Soleá form
Soleá guitar style is easily identified by its metre and Phrygian mode, but also by a series of characteristic phrases.A guitarist, when playing soleá, will combine:
- "llamadas" (the "call") on the Ist degree of the Phrygian altered cadence (in E, E major)
- "compas" (the standard accompaniment figure)
- "falseta" (plur. "falsetas"), melodic ideas played between different stanzas.
All sections have an even number of "compas" and are comparable in duration.
History
The origins of this "palo", as it happens in fact with most "palos", is very much in the dark, and has been subject to much unproved speculation. In spite of being one of the most prestigious "palos", the soleá is considered to be relatively new compared to TonásTonás
Tonás is the name given to a palo or type of flamenco songs. It belongs to the wider category of Cantes a palo seco, that is, palos which are sung without accompaniment or a cappella. Owing to this feature, they are considered by traditional flamencology to be the oldest surviving musical form of...
and Seguiriyas. The earliest known mention of them, referred to as "soledades", is that of Spanish poet Gustavo Adolfo Bécquer
Gustavo Adolfo Bécquer
Gustavo Adolfo Domínguez Bastida, better known as Gustavo Adolfo Bécquer, was a Spanish post-romanticist writer of poetry and short stories, now considered one of the most important figures in Spanish literature. He adopted the alias of Bécquer as his brother Valeriano Bécquer, a painter, had...
, in 1862. The existence of them prior to 1850 is often stated, but has never been proved. Folklorist Demófilo assured, as early as 1879, that they derived from the "coplas de jaleo", a kind festive song style in a very lively rhythm, apparently very popular in the mid 19th century. These facts contradict other views according to which the soleá would be the origin of the rest of flamenco "palos" and was from the beginning a serious and solemn style. In their primitive stages, soléa, as well as jaleo, seem to have been linked to Gypsy environments in several towns of the provinces of Cádiz
Cádiz
Cadiz is a city and port in southwestern Spain. It is the capital of the homonymous province, one of eight which make up the autonomous community of Andalusia....
and Seville
Seville
Seville is the artistic, historic, cultural, and financial capital of southern Spain. It is the capital of the autonomous community of Andalusia and of the province of Seville. It is situated on the plain of the River Guadalquivir, with an average elevation of above sea level...
.
The golden age of the soleá is considered to be the last quarter of the 19th century, at the time when the "café cantante" (musical café) was the preferential venue for flamenco artists. Most of the soleá melodies we know have been attributed to singers who were active at that time. With the turn of the century, other "palos" like those belonging to the group "cantes libres" like malagueña, tarantas, or Cartageneras
Cartageneras
Cartageneras are a flamenco palo belonging to the category of the Cantes de las minas or cantes minero-levantinos . As the rest of the songs in this category, it derives from older folkloric fandango styles...
took the supremacy. At the times of the "Ópera Flamenca", it was further displace by Fandangos, popular songs fashioned to the Bulerías
Bulerias
Bulería is a fast flamenco rhythm in 12 beats with emphasis in two general forms as follows:1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 [12]or...
rhythm and "cantes de ida y vuelta" like the Guajiras.
During the 50s-70s, at the time of the neo-traditionalism of Antonio Mairena
Antonio Mairena
Antonio Cruz García, known as Antonio Mairena was a famous flamenco singer. He led the movement towards the revival of traditional flamenco in the fifties and subsequent decades....
and his school, the style went back into favour, becoming, together with Seguiriyas and Tonás
Tonás
Tonás is the name given to a palo or type of flamenco songs. It belongs to the wider category of Cantes a palo seco, that is, palos which are sung without accompaniment or a cappella. Owing to this feature, they are considered by traditional flamencology to be the oldest surviving musical form of...
one of the most valued by flamenco artists, critics and public. The soleá went again into disfavour after the birth of New Flamenco
New Flamenco
Nuevo Flamenco is synonymous with contemporary flamenco and is a modern derivative of traditional flamenco ....
. Followers of Camarón de la Isla
Camarón de la Isla
Camarón de la Isla , was the stage name of a spanish flamenco singer José Monje Cruz who is sometimes also credited as Camarón de la Isla....
and his school tend to pay less attention to traditional, "hard" styles, and favour other more festive "palos" like Bulerías
Bulerias
Bulería is a fast flamenco rhythm in 12 beats with emphasis in two general forms as follows:1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 [12]or...
or tangos, which are easier to mix with pop and commercial music influences.
Main soleá styles
Soleá "styles" (or rather, we should say "melodies") are traditionally classified under their geographical origin and then by the singer they have been attributed to. These facts are not to be taken as absolute truths. Many times, these attributions rely solely on the oral tradition and the beliefs of singers and the flamenco environment, but rarely on evidence. Even when we know for sure that those singers had an important role in any of these melodies, it cannot be assured that he they "created" it. Maybe they just made it popular, or at most developed it.Soleares from Alcalá
Although the most recent among the traditional styles, some of the Alcalá ones are the most widely sung. The most famous singer of this area, to whom several styles have been attributed, is Joaquín el de La Paula (1875-1933). His four-line style, sung in the low registers and very restrained, is very oten used as an introductory stanza to other more high-pitched ones.Soleares from Triana
Triana is a quarter in SevilleSeville
Seville is the artistic, historic, cultural, and financial capital of southern Spain. It is the capital of the autonomous community of Andalusia and of the province of Seville. It is situated on the plain of the River Guadalquivir, with an average elevation of above sea level...
. They are very difficult to classify, owing to their large number of styles and variations. Most attributions to a particular singer are also doubtful.
- "La Andonda". Very little is known of this Gypsy singer. Some styles of soleá have been attributed to her, but there is no proof that they actually have anything to do with her.
- Styles of El Zurraque. El Zurraque is an area in Triana, where potters used to have their workshops. For this reason, these styles are often called "soleares alfareras" (potters' soleares).
- Soleares from CórdobaCórdoba, Spain-History:The first trace of human presence in the area are remains of a Neanderthal Man, dating to c. 32,000 BC. In the 8th century BC, during the ancient Tartessos period, a pre-urban settlement existed. The population gradually learned copper and silver metallurgy...
. They are supposed to derive from the styles of Ramón El Ollero. They were carried to Córdoba by a singer called Onofre, and are often known as "Soleares de Onofre".
Soleares from Cádiz
- By Enrique el MellizoEnrique el MellizoEnrique Jiménez Fernández , known as Enrique el Mellizo was a famous flamenco singer, the most influential one in the development of the Cádiz flamenco styles. Together with Silverio Franconetti and Antonio Chacón, he is considered to be one of the most important figures in the development of...
(1848-1906). Several styles have been attributed to this singer, one of the most influential in the evolution of flamenco singing for his contributions to several "palos". Other frequent styles include those of Paquirri.
Soleares from Jerez
They are considered to be mostly variations from other local styles. However, those by Frijones (probably born in 1846) have original quality.Soleares from Lebrija
The most famous are those by singer Juaniquí, of whom there is little reliable information.Soleares from Utrera
All styles from Utrera are attributed to La Serneta (1837-1910), a singer born in Jerez, who went to live in Utrera when she was young.----