Flamenco Fridays Rafael Riqueni
The structure of the Alegrias can change depending on whether you’re playing as a solo guitarist, accompanying a singer, or accompanying a dancer.
For the most part it’s a series of compás and falsetas. However, within this basic structure there’s some other material that act as a cue for dancers. Specifically, the llamada, silencio, and escobilla.
Letras
When accompanying a singer, the alegrias has between one and four letras, or sung verses. Each of these letras may have three or four 8-syllable lines.
The subject matter of the songs are often about sailors. This makes sense because Cadíz is a coastal city.
Note that guitarists will sometimes perform a letras section even without a singer.
Llamadas
Llamadas are dramatic, single compás sections that you’ll encounter in several flamenco forms. When accompanying a dancer, the main role of the alegrais llamada is to indicate a transition between sections. For instance, you might play a llamada to introduce or conclude a flaseta.
These are typically loud and intense phrases so that the dancer has a clear cue of what’s coming next.
Although most people associate the Alegrias with dancing, this is also one of the popualr forms to accompany a singer.
Escobilla
The Alegría includes two sections for the dancer, one of which is the escobilla. The escobilla is a section when the dancer shows off their fancy footwork. This two compás phrase includes a virtuosic guitar solo and gradual increase in rhythm.
Silencio
A second section that accompanies the dancer is the silencio. The silencio is a slow and dramatic section that’s usually played in the parallel minor key. For instance, if you were originally in the key A major, then the silencio would be played in the key A minor.
Because this section is more of a guitar solo, guitarists can take some liberty with the rhythm. Therefore, this section can be played either with a strict compás rhythm, or more freely with rubato. The silencio usually lasts for six compáses cycles.