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Alegrías/Bulerías de Cai (Cádiz)

The document describes the alegrías and bulerías dances and songs from Cádiz, Spain. It provides details on the rhythmic structure, tempo, sections of the alegrías dance. Sample lyrics are also included for the alegrías and bulerías songs.

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David White
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143 views4 pages

Alegrías/Bulerías de Cai (Cádiz)

The document describes the alegrías and bulerías dances and songs from Cádiz, Spain. It provides details on the rhythmic structure, tempo, sections of the alegrías dance. Sample lyrics are also included for the alegrías and bulerías songs.

Uploaded by

David White
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Alegrías/Bulerías de Cai (Cádiz)

Alegrías are the dominant cante (song) in a group of songs categorized as


cantiñas. The song comes from the time of the War of Independence between
Spain and France when people from all over Spain gathered in Cádiz to launch
the first attack against Napoleon. At this time the native songs of Cádiz collided
with the northern jotas, and the various cantiñas were born, including the
cantiñas, alegrías, mirabrás, caracoles and romeras. Today the alegrías are the
most popular version of the song and dance, and are considered to have
originated in the Cádiz region of Spain, the southwestern edge of Andalucía,
primarily from the cities of Cádiz, El Puerto de Santa Maria, and San Fernando.

Alegrías are also influenced by the more ancient flamenco song soleares,
and they have the same rhythmic structure and accentuation (a cycle of 12 beats,
with heavy accents on counts 3, 6 (or 7) 8, 10 and 12).

1 2 3 4 5 6 7 8 9 10 11 12
> > > > >

The alegrías has a much faster tempo than the soleares, and the chord structure
for the guitar stresses a major key. The word alegrías means joy or happiness.

The alegrías dance has several sections, including:

1) an opening salida/entrada (coming onto the stage; entrance)


2) an opening llamada (call to the singer and/or guitarist)
3) letras (song sections when the singer works closely with the dancer).
Between letras there is either
a) a llamada, or b) an escobilla.
4) After the letras comes a section called the silencio (a slower, eloquent section
with the guitarist and dancer only). This section is only performed with the
alegrías form of the dance.
5) The silencio segues into a kind of a llamada called the castellana, again specific to
alegrías.
6) Next come the long escobillas (footwork sections), which are performed with
guitar or a palo seco, (with palmas or rhythm only).
7) As a finale, the alegrías segues into the cantiñas and/or bulerías de Cadiz.
8) The dancer exits the stage (salida), or finishes on stage.

The cante alegrías is quite challenging to sing. The first verse is usually a warm-
up for the 2nd, which is “mas valiente” – more valiant – meaning more difficult.
The salida usually begins as a pickup on count 10. The song verse begins on
count 1. Dancers marking steps begin on ct. 12, and footwork sections begin on
either ct. 12 or 1. Llamadas start on ct. 1.

The bulerías de Cai (Cádiz) are songs unto themselves but in dance performances
they are generally performed in conjunction with the alegrías. The songs are
incredibly complicated and difficult to sing, and must be studied by either being
in Spain or working with a cante teacher. The accentuation for the bulerías de Cai
and for all bulerías is a 12 beat cycle, beginning on count 12 and ending on count
11, with heavy, structural accents falling on counts 12, 3, 7, 8, and 10. Please see
the separate bulerías page for more information.

© 2002 Katerina Tomás

All the verses below are traditional:

Alegrías de Cai (Cádiz)


Salida (Salia) Ti ri ti tran tran tran tran, Ti ri ti tran tran tran tran
Ti ri ti tran tran traido Ay! Ti ri ti tran tran tran tran

1. Ay! a mi me da...
La sirena, a de los Barco

Esca lo frio a mi me da...


La sirena, a de los Barco
Ay cuando dicen, Ay que se van...
La sirena a de los Barco
Ay cuando dicen, Ay que se van.

2. Y antes de que cante el gallo


Ay, a las clarita de dia
Y antes de que cante el gallo

BIS Ya vienen con sus pesares


Ay los barco por, por la bahia.

Que ya los titirimundi que yo te pago la entra


Que situ mare, nos viera,
Ay que dira, que dira,
A que dira, que dira
A que tendran que deci,
Que yo te quiero, te adoro
Que yo me muero por ti.
Bulerias de Cai

Salia - Ay con el yai, que yai, que yaiii, ay con el yai, que yai, que ya.

1. Ay cuando el pueblo encienda altare


Milagrillo pedira...............
Ay cuando el pueblo encienda altare
Milagrillo pedira..........

y cuando canta cantare


veni ya da ya paz.

Ay que con el yai, que carai, que carai, carai


Que mira uste las cosa que tiene mi Cai.
Que ni las hombre primo las vamo a sentil, que si,
Ay mira uste que gracia tenemos aqui.

Bulerias de Cai

2. Ay que derroche que derroche...


Ay que derroche..
Ay seco las penita Mia!

Ay que derroche que derroche..


Ay que derroche..
Ay seco las penita Mia!

Ay las tire al mar una noche


Y ahora vivo en la alegria.

Ay que con el yai, que carai, que carai, carai


Que mira uste las cosa que pasan en Cai,
Ay lo he reconocio no hay que discuti, que si,
Ay mira uste que gracia tenemos aqui.

3. (de Maria Cornejo)

BIS Y estando un dia contando,


Ay contando,
Ay mis penita primo mio a la mar.....

Ay vi que era como las ola


unas vienen y otras van

A que con el yai, que carai, que carai, carai


Que mira uste las cosa que tiene mi Cai
Ay que los ritmo primo que te importa a ti, que si,
y es que tu conmigo te venga a viivi.

Ay que con el yai que carai, que carai, que salero,


cante con mas anje en el mundo no hay,
y con mas gracia y compás mas festero
que el que tiene los cantes de Cai.

Que si se tocan palma y en el mundo entero


igual que se toca en Jere(z) y en Cai...
Ay con el yai, que Carai, que Carai, Carai,
Que mira uste las cosa que pasan en Cai.
Que ni las ambre primo la vamo a senti, que si,
Ay mira uste que gracia,
Ay mira uste que ange,
Ay mira uste que gracia tenemos aqui......

Bulerías

4. por cuple..

Si pasa por el molino


que tu le dice a la molinera..
Que la espera en el molino
que quiero yo habla con ella.

Que dale en betun, de betun ya la bota,


que dale de betun, y al tacon

BIS Ay eres mas bonito


que un tirabuson

BIS Porque al pasa la barca


que me dijo un barquero
que la niña bonita, no paga dinero
La niña bonita, no paga dinero.

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