Martinetes

Martinete is a flamenco pole, a musical style of Spanish song and dance.

1. Natural Martinete
2. Martinete number 2
3. Martinete de Triana
4. Martinete number 3
5. Macho
6. Martinete Corrido
7. Compas and tone
8. Dance

It is generally a cante with a verse of four octonary lines (octosilabos). It is considered a speciality of the toná, in the same way as the carcelera, originating from the forges or ironworks. His lyrics are generally distinguished by their sad content and monotonous tone, ending in long lamentations. The characteristic of the toná is that it is sung without a guitar although sometimes it is accompanied by forge noises, such as that of a pilón hammer or martinete (hammer) striking the metal.

The martinete is a brave cante that is normally performed by projecting the voice through a successive ascending scale –especially the so-called martinete redoblao-, although sometimes it is performed with less effusiveness, leaving a toná grande or debla for the final boast.

As a powerful style, it is unthinkable, even if you find it written somewhere, that it was sung while working on iron. In truth, it was done during breaks, for example, during the wait for the iron to heat up in the fire and especially after work in the tavern.

Today we can differentiate three main types of martinete: the natural, related in its melody with some seguiriyas, and which in turn can be sung redoubled, repeating some of its verses. They were recorded by El Gloria from the movie.

Natural Martinete

Martinete number 2

Martinete de Triana

Martinete number 3

Macho

Martinete Corrido

Compas and tone

They are sung, like all the tonás, freely, without a set beat. However, the dance version made by Antonio Ruiz El Bailarín, choosing the compás of the seguiriya to perform it, has generalized the interpretation of the martinete over the seguiriya metric.

Unlike the tonás, the martinetes are performed in a major key, although with frequent nods to the Andalusian Phrygian.

Dance

 In some dance shows for the stage, though, it is accompanied by percussion played with the compás of siguiriya. The percussion instruments chosen for this are frequently a hammer and anvil, to evocate the origins of this palo, attributed to Gypsy smiths. It is not probable, though, that they were real work songs: they demand too much effort and faculties to be sung while carrying out a heavy task like that of a smith. They were more probably sung in family gatherings.

Normally, as a strong dance, too much footwork and a cane are used.

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