Part 3b Voice type in flamenco

The quality of voice is of supreme importance in flamenco as it can imbue flamenco with one of its most important elements: “el quejio”. “El quejio” is perhaps best translated as a “cry of desperation” and often said to be one of the basic elements of the ”cante jondo”, that is, those palos which are the most profound and deep. Here is a breakdown of some of the major divisions of types of voice. As always, any comment or correction is welcome.

1. The “voz afillá”, is a hoarse, broken and cracked voice, devoid of ornamentation. Examples of singers with this voice include Manolo Caracol and María Borrico. This style of voice was most appreciated during the 19th century and it is most suitable voice (IMHO) for the desperation expressed in cantes such as: siguiriya, bulería, toná, soleá. “Es la voz del venerable cante primitivo” (Molina/Mairena, p. 82). It is often thought to be the first type of voice used in flamenco and is considered to be particularly authentic. The first style (or tone) of voice which was used to interpret flamenco was almost certainly a rough, coarse and direct voice. What is lost in intricate ornamentation and technical beauty is gained in directness and, for want of a better word, balls. This style of voice is also known by the term “desgarrada”, which comes from the verb meaning to tear or to rend - it describes a hoarse, deep voice, occasionally abrasive, but with great depth. It is most often called “afilla” in recognition of the singer Francisco Ortega “El Fillo”.
2. The “voz redonda” is a thick, sweet but virile voice. Tomás Pavón was one of the first singers to develop this type of voice. Other singers to have this type of voice include La Serrana, Merced la Serneta, and Pastora Pavón “Niña de los Peines”.
3. The “voz natural” is a voice that comes from the chest and is very similar to the “redonda”, but has a more torn and less clean quality to it. This torn quality is known as “rajo”. Manuel Torre is often given credit for developing this type of voice.
4. The “voz de falsete” is not terribly popular nowadays. Characterized by its soft and warbling nature, its most famous exponent was Niño de Marchena (1903-1973). It was in fact introduced by Antonio Chacón (1869-1929).
5. The “voz de Camarón” is perhaps the most familiar type of voice in modern flamenco. Camarón left such an indelible ımpression on flamenco that he deserves a post to himself.

This style of voice, which is ideal for the interpretation of the “serious cantes” such as the “tona”, “solea”, “siguiriyas” and “tientos”, was superseded by a falsette style during the latter half of the “cafe cantante” period as well as the whole of the “opera flamenco” epoch. In flamenco terminology the falsette style of voice is known as “laina” and is considered by some to be an ideal voice for the “cantes libres” (the various “fandangos” and “malagueñas” - in other words, the so-called “cantes andaluces”.

All these divisions between styles of voice and the relative authenticity of each one are the cause of many discussions, often quite heated. In “penas flamencas” all over Andalucia the same arguements rage: which voice is the best, who is the best singer of all time, etc., etc. Whilst many pleasant hours can be spent listening to and participating in such discussions, at the end of the day the important element is often ignored. This is the question of “duende”, a subject which deserves some discussion.

Other features of El Cante

Tone of voice apart, there are other features of cante flamenco that are unique. In many cantes there is a short time that the singer takes to warm up, this is called the ‘temple’, also called the ’salida’ and nearly all flamenco features a ’salida’ before the the first verse. This is the time when the singer tries out their voice against the guitar. The salida takes the form of a series of ornamented ‘ayes’, tirititrán, trantrero, leerle, nonaino, or torrotrón amongst others.