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Guitar Flamenco .Malagueñas is one of the traditional styles of Andalusian music (flamenco), derived from earlier types of fandango from the area of Málaga, classified among the Cantes de Levante.
You can also watch Antonio Banderas - La Malagueña (Érase Una Vez En México)
Originally a folk-song type, it became a flamenco style in the 19th century. It is not normally used for dance, as it is generally interpreted with no regular rhythmic pattern, as a "cante libre". It has a very rich melody with virtuous flourishes and use of microtones. Its guitar accompaniment is normally played in open position first inversion giving E for the tonic, which can be transposed by using a capo.
Origins
Malagueñas derive from local variety of the Fandangos, a type of dance that, with different regional variations and even different names, became very popular in great part of Spain in the 18th century. Although nowadays malagueñas are a typical instance of "cante libre", performed at libitum and normally not used for the dance, folkloric fandangos were originally sung and played at a fast speed, with a rhythmic pattern in 6/8, to accompany dance. Some of these primitive fandangos from Málaga, called Verdiales are still performed nowadays at folkloric gatherings by large non-professional groups called "Pandas", which use a high number of guitars, "bandurrias" (a sort of mandoline), violins, and tambourines.
[edit]Development
Towards the second half of the 19th century, some interpreters gave the first steps in transforming this folkloric songs into real flamenco. They slowed it down (although still keeping the eastern fandango rhythm pattern known as "abandolao"), they enriched the melody with flourishes and ornaments and reduced accompanying instruments to a single guitar. In this process, they were probably influenced by other flamenco styles, but modern research also suggests that the influence of Opera, Zarzuela and other classical music styles also played a part in this development[cite this quote].
The oldest malagueña of this type that has been preserved to our days is probably the Jabera[cite this quote] . This was first mentioned by writer Serafin Estébanez Calderón, probably in the 1840s. According to this contemporary witness, this type of malagueña would have been created by an artist known as La Jabera. This early malagueña type still preserved a rhythmic pattern as those of later artists like Juan Breva. Most of the malagueña types were created in the last decades of the 19th century.
The third step in the evolution was the total loss of a rhythmic pattern. This development was brought forward by singers like Antonio Chacón, Enrique el Mellizo and guitarists like Ramón Montoya. Neither of had been born in the area of Málaga so they had not grown in contact with the original folkloric fandangos. They were in a sense, creators of a completely new style, fashioned by professional or semi-professional artists.
[edit]Malagueña styles
Some of the traditional malagueña styles (melodic schemes) more frequently performed are listed below. Many though, have been omitted as they are rarely performed or are just variations of other main styles.
1. Juan Breva. He recorded three of his malagueña styles personally in the early 20th century.
2. Enrique el Mellizo. It is often said that he derived his malagueña from the preface to the catholic mass. After his influence, the rhythmic pattern of the malagueña guitar accompaniment was lost and it became a "cante libre". Among the interpreters of this style who helped to establish it we may mention El Niño de la Isla, Aurelio Sellé, Manolo Caracol and Pericón de Cádiz. Each of them has added personal touches to the Malagueña, so it is difficult to know which one resembles the original model most.
3. El Canario. He created one style of Malagueña.
4. Antonio Chacón. He was the most prolific creator of malagueñas and the styles he created are probably the most frequent in recordings. The number of the malagueñas he created varies, though, as some have been attributed to him only by tradition. Some of these styles can often be seen as simple variations. Most of these styles were already recorded by him between 1909 and 1928.
5. La Trini. Her legacy was preserved by singers like Sebastián el Pena. Antonio Chacón created a personal variation of one of her styles.