• About Us
  • Contact
  • Memberships
Monday, September 14, 2026
No results
See all results
expoflamenco
Banners expoflamenco Fan
  • Magazine
  • Studio
  • Events
  • Academy
  • Community
  • Podcast
  • TV
  • Shop
  • Login
expoflamenco
  • Magazine
  • Studio
  • Events
  • Academy
  • Community
  • Podcast
  • TV
  • Shop
No results
See all results
expoflamenco
  • Magazine
  • Studio
  • Events
  • Academy
  • Community
  • Podcast
  • TV
  • Shop

Some curiosities and notes about La Serneta (2): Pastora and Tomás Pavón

Jose Maria Castano by Jose Maria Castano
May 23th 2025
16
0
#image_title

#image_title

166
Views
Share on Facebook
Share on X
Share by mail
Share on Whatsapp

In the previous post, I referred generically to the Pavón family, who could be relatives of La Serneta. In this one, I focus on its two main influences, at least those recorded on disc.

I remind you that these articles are in preparation for our 2025 summer course that will be held on July 25th in our Space expoflamenco From Jerez. You'll find all the information and how to register at this link:

The Soleá de la Serneta – Summer Course 2025 – expoflamenco – Your store of Flamenco and cultural space in Jerez

Pastora Pavón Cruz She was, among women, the greatest promoter of the Serneta soleá. I think she felt strongly identified with it, especially in the lyrics. There are some very significant details:

a) The Girl with the Combs records a total of 258 cantes between 1910 (Zonophone) and 1950 (His Master's Voice) with different guitarists.
b) Of those 258 cantes, 26 were records for soleá with 64 variations or different schools.
c) 16 cantes Of all these variants, the forms attributed to La Serneta were:

8 of the preparation style (versus 'I was Piera' and I lost my center') / 4 original style (vs. 'One day it was me') / 2 of the Jerez transition style (vs. 'I never failed in my law') / 2 of the brave style (vs. 'I don't complain about my star'). The so-called brave Trianero and the short or transitional Trianero soleá are left out. Curious, considering it's from Seville.

Regardless of these data, and even though I understand that Pastora He grafts his own personality into many of the sections; he is an unparalleled mirror to bring us closer to the object of our study.

In this cante, La Niña con Melchor gives us three styles of La Serneta: the first two of preparation and the brave Jerez style


Thomas Pavon
He recorded far less than his sister, but at least he left us some gems from Arturo that we'd love to have. However, his contributions are sensational:

d) Of 13 soleás (between 1928 for Regal and 1947 for His Master's Voice) in just one record he performs the cantes of our protagonist. But, most importantly, she labels them with her name, something that wasn't common at the time. The AA-400 reference from 1947, featuring Melchor de Marchena, appears on the slate plate's biscuit like this: Soleares de la Serneta.

e) Includes two monuments: the first one is a preparation monument 'I have such a great taste' which has been shaped by many and the second is the Jerez transition'I never broke my law.

Go to the springs of these two singers in search of vestiges of the cante Mercé's la Serneta is a guarantee of the best gold.

Continued ...

Tomás left us two authentic gems of the forms associated with the Serneta, the preparation and the short Jerezana. The finale is his recreation of the cantes of Beans

Tags: Course on the soleá of La SernetaCourses Flamencosummer sStudy of the soleá of the SernetaThe Girl with the Combs
Previous article

The poster of the LVI Meeting of Cante Jondo from La Puebla de Cazalla

Next article

Yiya scratched with the cante the presentation of the La Puebla Meeting in Torres Macarena

Jose Maria Castano

Jose Maria Castano

Critical flamenco from Jerez de la Frontera (1970). Host since 1992 of the radio program 'The paths of the cante'. Graduated in Law from the University of Cadiz and author of the books 'De Jerez y sus cantes', 'Manuel Soto Sordera, the elegance of the duende' and 'La Albarizuela: the third gypsy neighborhood and flamenco from Jerez'.

Next article
Yiya and Antonio Carrión. Presentation of the 56th Meeting of Cante Jondo from La Puebla de Cazalla. Torres Macarena, Seville. May 22, 2025. Photo: Kiko Valle

Yiya scratched with the cante the presentation of the La Puebla Meeting in Torres Macarena

Please log in to join the conversation
Manolo Sanlucar Banner
Banner for the Seville Biennial 2026
Academy ExpoFlamenco
expoflamenco

The Global Stage for Flamenco

Follow expoflamenco

Facebook X-twitter Instagram Youtube Whatsapp
  • Terms and Conditions
  • Privacy policy
  • Cookie policy
  • Legal Notice
  • Terms and Conditions
  • Privacy policy
  • Cookie policy
  • Legal Notice

© 2015 - 2026. All rights reserved.

  • About Us
  • Contact
  • Memberships
  • About Us
  • Contact
  • Memberships

Ok

Retrieve password

Please enter your username or email address to reset your password.

Log In

Add new playlist

ExpoFlamenco - The Voice of the Flamenco in the world
Manage consent
To offer the best experiences, we use technologies such as cookies to store and / or access device information. The consent of these technologies will allow us to process data such as surfing behavior or unique identifications on this site. Not consenting or withdrawing consent may adversely affect certain features and functions.
Functional Always active
The storage or technical access is strictly necessary for the legitimate purpose of allowing the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication through an electronic communications network. .
Preferences
Storage or technical access is necessary for the legitimate purpose of storing preferences not requested by the subscriber or user.
Global Data
The storage or technical access that is used exclusively for statistical purposes. Storage or technical access that is used exclusively for anonymous statistical purposes. Without a request, voluntary compliance by your Internet service provider, or additional logging by a third party, information stored or retrieved solely for this purpose cannot be used to identify you.
Marketing
Storage or technical access is necessary to create user profiles to deliver advertising, or to track the user across one or multiple websites for similar marketing purposes.
  • Manage options
  • Manage services
  • Manage {vendor_count} vendors
  • Read more about these purposes
View preferences
  • {title}
  • {title}
  • {title}
ExpoFlamenco - The Voice of the Flamenco in the world
Manage consent
To offer the best experiences, we use technologies such as cookies to store and / or access device information. The consent of these technologies will allow us to process data such as surfing behavior or unique identifications on this site. Not consenting or withdrawing consent may adversely affect certain features and functions.
Functional Always active
The storage or technical access is strictly necessary for the legitimate purpose of allowing the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication through an electronic communications network. .
Preferences
Storage or technical access is necessary for the legitimate purpose of storing preferences not requested by the subscriber or user.
Global Data
The storage or technical access that is used exclusively for statistical purposes. Storage or technical access that is used exclusively for anonymous statistical purposes. Without a request, voluntary compliance by your Internet service provider, or additional logging by a third party, information stored or retrieved solely for this purpose cannot be used to identify you.
Marketing
Storage or technical access is necessary to create user profiles to deliver advertising, or to track the user across one or multiple websites for similar marketing purposes.
  • Manage options
  • Manage services
  • Manage {vendor_count} vendors
  • Read more about these purposes
View preferences
  • {title}
  • {title}
  • {title}
No results
See all results
  • Login
  • Magazine
  • Studio
  • Events
  • Academy
  • Community
  • Podcast
  • TV
  • Shop

© 2015-2026 ExpoFlamenco
The Voice of Flamenco worldwide.