Tientos (Art music)
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- Work cat.: Parkins, Robert. The Littlefield organ series, March 2, 2014, 2014(contents include: Tiento III / Antonio de Cabezón; Tiento [16] de 4o tono / Francisco Correa de Arauxo; Tiento de 2o tono sobre la letanía de la Virgen / Pablo Bruna; Tiento [12] de falsas / Juan Cabanilles)
- Cabanilles, Juan. Tiento 5th tono de falsas, 2015.
- Ohana, Maurice. Tiento : pour clavecin : original pour guitare, ©2000.
- Grove music online, Dec. 18, 2018(Tiento; term applied exclusively to instrumental music from the mid-15th century onwards, first in the Iberian peninsula and then in Latin America. Until the mid-16th century tientos were played on various instruments (ensembles, plucked strings, keyboard); from the end of the 16th century they were written chiefly for keyboard instruments, particularly the organ. 20th-century composers revived the form, writing tientos for ensembles or orchestras. The plural, tientos, also designates a flamenco genre for solo guitar)
- Merriam-Webster dictionary online, Dec. 18, 2018(tiento plural -s: a 16th century Spanish pipe-organ composition having strict imitative counterpoint and resembling the ricercar)
- Oxford English dictionaries online, Dec. 18, 2018(tiento: (in 16th- and 17th-century Spanish music) a contrapuntal piece resembling a ricercar, originally for strings and later for organ)
- OnMusic dictionary, via WWW, Dec. 18, 2018(tiento: A Spanish Renaissance composition resembling the ricercare or the fantasia)
- Wikipedia, Dec. 18, 2018(Tiento; a musical genre originating in Spain in the mid-15th century. It is formally analogous to the fantasia (fantasy), found in England, Germany, and the Low Countries, and also the ricercare, first found in Italy. By the end of the 16th century the tiento was exclusively a keyboard form, especially of organ music. It continued to be the predominant form in the Spanish organ tradition through the time of Cabanilles, and developed many variants; formally extraordinarily diverse, more a set of guidelines than a rigid structural model such as fugue or rondo. Nearly all tientos are imitative to some degree, though not as complex or developed as the fugue; the earliest were stylistically quite close to the ricercare in their extended use of the strict, motet-style counterpoint. Later (especially in the works of Cabanilles), tientos would frequently alternate between the older style of strict counterpoint, and virtuosic, affective figuration typical of the toccata and some fantasias)
Tientos is a flamenco Andalusian palo which has a rhythm consisting of 4 beats. It is in the same family as the Tangos, but slower and with different topics, lyrics and mood. Every Tientos becomes a Tangos at the end of the song/dance. Traditionally, cantaor El Marrurro (1848 -1906) has been considered one of the creators of this style. Enrique el Mellizo gave it the modern form by which we know it today. Other famous cantaores who interpreted this style were Antonio Chacón and Pastora Pavón. Like many Cante Jondo, traditional Tientos lyrics (letras) tend to be pathetic, sentimental, and speak about the lack of love, disillusionment and revenge. Dancers strive to capture this mood in their solos. It can be danced by a man or a woman.
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