Taranto
The taranto is a Levantine cante that comes directly from the mines of Almería, also the cradle of the taranta, with which it shares its roots within the family of mining cantes. Like other styles of this branch, it was born linked to the world of mining labour in the south-eastern peninsula.
Origin and history
The taranto arose in the mining environment of Almería, particularly in areas such as the La Chanca district and the mining basins of the Sierra Almagrera, where much of the repertoire of Levante cantes took shape during the 19th century. Unlike other mining cantes, the taranto retained from early on a closer relationship with dance, which sets it apart within this predominantly free and contemplative family.
During the 20th century the style underwent a notable transformation and spread thanks to artists who took it to the stage and to record, fixing a way of singing it that has become a reference. That evolution made the taranto one of the few mining cantes also performed as a dance number in flamenco shows, alongside the danceable minera in some schools.
Musical characteristics and compás
Unlike the taranta, which is in free compás, the taranto is organised over a binary compás close to that of the tangos, which allows it to be performed danced. It shares with the rest of the mining cantes the tonality and melodic colour of the Phrygian mode, but its phrasing is more regular and marked, adapted to the rhythmic pulse of the guitar and, in its danced version, to the footwork.
The guitar is tuned to the key proper to the Levante cantes and accompanies with a settled compás, closer in function to that of the tangos than to that of the free mining cantes. This dual nature, between mining cante and compás cante, is precisely what makes the taranto singular.
Representative cantaores and performers
The consulted source does not mention specific performers historically linked to this style.
Relationship with other palos
The taranto belongs to the family of the Levante and mining cantes, together with the taranta, the minera and the cartagenera, with which it shares geographical origin and tonality. However, through its compás and its danceable character it also draws close to the tangos, forming a singular bridge between the free mining cantes and the compás flamenco cantes.