Spain Song Download [NEW]

"Spain" was composed in 1971 and appeared in its original (and best-known) rendition on the album Light as a Feather, with performances by Corea (Rhodes electric piano), Airto Moreira (drums), Flora Purim (vocals and percussion), Stanley Clarke (bass), and Joe Farrell (flute). It has been recorded in several versions, by Corea himself as well as by other artists, including a flamenco version by Paco de Luca, Al Di Meola and John McLaughlin in the 1980s, and a progressive bluegrass version by Bla Fleck in 1979. A version with lyrics by Al Jarreau, "Spain (I Can Recall)", appeared on the 1980 album This Time. More recently, Corea had performed his composition as a duo with Japanese pianist Hiromi Uehara. A version of "Spain" was performed by Stevie Wonder at his 2008 Concert in London. The introduction used in the song is from Concierto de Aranjuez, a guitar concerto by the Spanish composer Joaqun Rodrigo.

Corea opens the Light as a Feather version of "Spain" with the adagio from Joaquin Rodrigo's Concierto de Aranjuez. After the intro, the song switches to a fast, steady samba-like rhythm, in which the main theme and an improvisation part are repeated.

Spain Song Download

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"Raoul and the Kings of Spain" is a song by English pop rock band Tears for Fears, released as the first single from their 1995 album of the same name. Upon its release, the single reached number 31 in the United Kingdom and would be the band's last top-40 hit there for 10 years, until 2005's "Closest Thing to Heaven". The song also reached number 39 in the Wallonia region of Belgium.

The video for the song was filmed at The Mission Inn Hotel & Spa in Riverside, California. The Inn is a listed historic landmark, and was where Bette Davis married in 1945. The video features Orzabal with his full supporting band including guitarist Alan Griffiths (who co-wrote and co-produced the song) and bass player Gail Ann Dorsey.

I am an American who learned to speak Spanish fluently while living along the border of Mexico. A Chilean friend recommended the Spanish band Ska P to me and I love them. They are very political and I understand most of their songs just fine as they mostly discuss international topics. Any issues I have had with local phrases and words have been easy enough to look up. A couple years ago however they came out with a new song, Jaque al Rey that is about the king of Spain. I know almost nothing about Spain so I don't really get a lot of what's going on here.

I really don't want to cause any arguments, I just want to know the context here, so if you don't agree with these guys but you are familiar with the positions in this song that's cool, I would appreciate if you just explain the positions.

A song that first became a hit in Spain when released more than 30 years ago has gone viral through a video released on social media, becoming an overnight anthem of resistance as Spaniards struggle to cope with the national COVID-19 crisis caused by the spread of the coronavirus.

The NLS Music Section has the braille score for Cuatro Madrigales for voice and piano. We also have audio lessons for learning to sing each of the four songs created by renowned vocal pedagogue Nico Castel. Each lesson includes a performance of the song with accompaniment, a reading of the lyrics for diction guidance, an English translation of the text, a recording of the melody, and a recording of the piano accompaniment alone for use in practice.

A group representing victims of Spanish dictator Francisco Franco's regime has asked prosecutors to investigate a song performed at a rally by the far-right Vox party, for allegedly calling for a return to civil war.

The song, written by YouTuber Isaac Parejo and performed with the band Los Meconios, starts with the line "We're going back to '36", a reference to the year Spain's civil war began and a suggestion Spain's Association for the Recovery of Historical Memory said could be akin to a hate crime.

The lyrics to the song include verses such as "we are 'fachas'" -- a slang term for "fascist" -- and comparisons between Spain's current centre-left coalition government and the Popular Front that held power in the lead-up to the civil war.

In addition, they have complained about the reactions left-wing politicians have had to the lyrics of the song, about "the manipulation of the media" and about "the number of threats we have received".

All ears are of course on Jos Feliciano's festive classic Feliz Navidad right now. But let's intersperse our Christmas listening habits with the almighty 'Feliz Navidad' that our friends at RTVE have just dropped - the 16 songs that will be competing in Spain's Eurovision pre-selection.

Now, let's hit play on the 16 Spanish hopefuls for Malm 2024. Over 800 songs were submitted to Benidorm Fest 2024, but it's these tunes that were deemed the most essential for Spain's national final:

The concept of writing poetry and music in a vernacular language gained popularity and, in the thirteenth century, songs in the vernacular language of the Iberian peninsula began to appear when Castilian Spanish became firmly established as its own language, apart from its Latin roots. Folk songs have been popular since this time, although the songs were composed in the minds of the illiterate people and passed down orally from generation to generation.[3] In Renaissance Spain there was an unusual connection between uneducated folk singers and sophisticated court poets. It was not uncommon for more educated poets to collect and sing simple, unmetered folk poetry, improving and developing it to a fuller potential.[4] The oldest examples are seven canciones de amor (love songs) by Martin Codax, for which are six surviving melodies written in Galician-Portuguese. Both the text and music of these pieces are simple in form and nature and suggest that they were a derivation of folk dance and song rather than the more sophisticated love songs of the troubadours.[5]

Written by trouvre and Benedictine monk Gautier Coincy (d. 1236), Les Miracles de Notre Dame is perhaps the most famous collection of stories. The fact that there are no fewer than eighty-four surviving manuscripts proves the enormous popularity and influence of this work amongst its contemporaries. The work was a collection of narrative poetry and song celebrating the alleged miracles performed by the Virgin Mary.[6]

The significance of Spanish cantigas lies in the fact that they were the first songs to make extensive use of the form that would later become fixed in the French virelai and Italian ballata of the next century. Melodically, the cantigas are simplistic, concise, and primarily syllabic with little ornamentation. The notes move in a stepwise motion with only occasional skips of a third, and larger leaps only occur between phrases. Clear cadences, rhythmic shape, and the repetitive nature of the form combine together to create a melodic line that is dancelike in nature, lending a distinctive Spanish flavor to the music. The Cantigas de Santa Maria provides some of the most attractive and tuneful melodies of the monophonic song, and their contribution should not be ignored.[13]

The minstrel poems of the Archpriest of Hita became an important influence in fourteenth-century Spain. Following the reign of Alfonso by about fifty years, the Archpriest ministered not only to publicans and sinners, but also to musicians, ballad singers, and Moorish dancing girls. He wrote words for them to sing and proved his knowledge about their various instruments, often giving advice on which instruments sounded better for songs sung in Arabic and which ones better complimented Spanish text. His book, El libro de buen amor, was a collection of words which became standard minstrel songs during his time and continued in popularity even after his death. The collection was later translated into Portuguese, attesting to its high esteem.[16]

Minstrels played an important role in early fourteenth-century Spain; however, by the second half of the century professional minstrelsy began to decline and fragments of their epic poetry became popular among common musicians. These fragments lived on in the form of old Spanish ballads or romances viejos, and were epic-lyric poems sung to an instrument, either in choral dances, or where people were gathered together for recreation or work. As the popularity for this style grew, singers began to choose national subjects for themselves and looked for inspiration in their daily lives. Like former minstrels, they used song to keep their audience informed of current events. Governments did not hesitate to use this to their advantage and made use of popular singers to help spread news which was favorable to their policies. History shows that in 1462, King Henry IV of Castille commanded a ballade to be written on a certain campaign near Granada, then commanded that the ballad be performed by singers of the Chapel Royal. Similarly, ballads celebrating the fall of Granada were also composed and sung in the Chapel Royal of Ferdinand and Isabella.[17]

As a whole, many more song texts than musical settings have survived in Spanish secular music of the era. In many cases the musical manuscripts have been lost, but the flowering of Spanish Renaissance secular song was essentially motivated by linguistic and literary achievements. It was during the reign of Ferdinand and Isabella that Castilian Spanish became an elegant and courtly language and Catholic monarchs actively pursued the reformation of elite Spanish culture after the model of the Burgundian court. Their courts became centers of humanistic investigation and scholarly discourse, sparking a number of significant publications.[23]

While the overwhelming majority of Spanish songs in the cancioneros are villancicos, there are also a great number of romances. Romances were long narrative poems of many strophes usually consisting of four phrases of music. These phrases were presumably intended to be sung over and over again or as the basis for elaborate variations called glosas. While the character and texts of the romances indicate a now lost and unwritten tradition in the performance of the works, the preserved examples serve as blueprints for the sophisticated, courtly music. With harmonic basses like the villancico and Italian frottola, they also possess a supporting tenor line like the fifteenth-century chanson. Spanish composers demonstrated an expertise at writing variations, and speculation is made that this is how multistrophic romances were intended to be performed.[28] e24fc04721