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

Jose Maria Castano by Jose Maria Castano
May 23th 2025
en News, Recent, Studio expoflamenco
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Some curiosities and notes about La Serneta (2): Pastora and Tomás Pavón

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

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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'.

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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

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