About twenty years ago I began composing a Serranas on the piano, This form is related to the family of forge songs ( cantes de fragua) amn have the same compas as Martinete, Seguiriya, cabalaes and Tona and reflect the rhythm of the blacksmiths work on the anvil. I t has an insistent and hypnotic expression which is mournful and melancholy.
This presents the feeling of the tragic sense of life.
In eth upcoming performance I will be joined by three guitarists who will underline the basic rhythm as an accompanied to my piano rendition, and weave chores around the main harmonies. I have deliberately worked in some dissonant chords to create tension and ambiguity this form is referred to a “por arriba” and is centered on a minor and Phrygian mode, the actual time is alternating bars of ¾ and 6/8. The melody begins on the 2nd beat of the first ¾ bar and continues back and forth giving the titmice pulse which changes back and forth over the melody.
There are two other forms which use the alternating system of 6/8 and ¾ bars. Petén eras and Guairá’s have the 6/8 and 3/4 measures in the song and the dance complements this effect along with the cante.