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14-412: The term is also used for a Spanish stanza form with four to seven short, partly assonant lines in a characteristic rhythm. The earliest and most influential of the types of seguidilla are thought to originate in either La Mancha or Andalusia , having become typical of large parts of central Spain. Variants include the seguidilla manchega (from La Mancha) as well as the murciana from Murcia and

28-479: A stanza ( / ˈ s t æ n z ə / ; from Italian stanza , Italian: [ˈstantsa] ; lit.   ' room ' ) is a group of lines within a poem, usually set off from others by a blank line or indentation . Stanzas can have regular rhyme and metrical schemes , but they are not required to have either. There are many different forms of stanzas . Some stanzaic forms are simple, such as four-line quatrains . Other forms are more complex, such as

42-488: A brief instrumental introduction, often played on guitar, followed by a salida , which is a small portion of the song text acting as a false start. The remaining sections are free and varied, consisting of instrumental interludios and the vocal sections called coplas . An original song entitled Seguidilla occurs in Act I of the opera Carmen by Georges Bizet , where it is sung by the title character to persuade her captor,

56-569: Is a musical form going back to the 1840s, in such songs as " Oh! Susanna ", " The Daring Young Man on the Flying Trapeze ", and many others. It became passé in the early 1900s, with advent of the AABA (with verse) form in the Tin Pan Alley days. It became commonly used in blues and rock and roll in the 1950s, and predominant in rock music since the 1960s. In contrast to 32-bar form , which

70-517: Is closer to a bolero with added flamenco-style melodic colouration. Elsewhere, in La forza del destino , the same composer inserts a folk dance at the beginning of Act II; but although it is labelled seguidilla in the score, the passage is written in 4/4, not the triple time usual for a seguidilla. A seguidilla also features in Paisiello's opera Il barbiere di Siviglia . Stanza In poetry ,

84-450: Is focused on the refrain (contrasted and prepared by the B section ), in verse–chorus form the chorus is highlighted (prepared and contrasted with the verse). The chorus often sharply contrasts the verse melodically , rhythmically , and harmonically , and assumes a higher level of dynamics and activity, often with added instrumentation. This is referred to as a "breakout chorus". See: arrangement . Songs that use different music for

98-473: The Spenserian stanza . Fixed verse poems , such as sestinas , can be defined by the number and form of their stanzas. The stanza has also been known by terms such as batch , fit , and stave . The term stanza has a similar meaning to strophe , though strophe sometimes refers to an irregular set of lines, as opposed to regular, rhymed stanzas. Even though the term "stanza" is taken from Italian, in

112-581: The Italian language the word "strofa" is more commonly used. In music, groups of lines are typically referred to as verses . The stanza in poetry is analogous with the paragraph in prose : related thoughts are grouped into units. This short poem by Emily Dickinson has two stanzas of four lines each: I had no time to hate, because The grave would hinder me, And life was not so ample I Could finish enmity. Nor had I time to love; but since Some industry must be, The little toil of love, I thought,

126-459: The dance is known as bien parado , wherein the dancers stop motion at the end of a section of the music or stanza of text while the instruments continue playing into the next section. Usually the woman dancer also holds castanets . Act I of ballet Don Quixote (classical version choreographed by Marius Petipa and restaged by Alexander Gorsky ) includes a Seguidilla dance performed by corps de ballet. In general, seguidilla folksongs begin with

140-399: The ground; Dead boughs take root in ponds And ferns on windows shoot their ghostly fronds. But vainly the fierce frost Interns poor fish, ranks trees in an armed host, Hangs daggers from house-eaves And on the windows ferny am bush weaves; In the long war grown warmer The sun will strike him dead and strip his armour. Verse (popular music) Verse–chorus form

154-447: The slightly faster sevillana of Seville . One of the most complex styles of seguidilla is the seguidilla flamenca or seguiriya ), which is used in flamenco music. Act I of Jacques Offenbach 's opera La Périchole includes a number entitled "Séguedille". The dance is performed in pairs with animated footwork reflecting the rhythm of the guitar and percussion, yet restrained upper body movement. One technique characteristic of

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168-418: The soldier Don José, to set her free. She promises to meet him later at the inn of her friend Lillas Pastia. Although this number uses flamenco-style material, it has a slower tempo than the classic Spanish dance form and a more complex structure. It is possible also that the "Veil Song" (Act II, scene 1, of Don Carlos ) by Giuseppe Verdi is meant to evoke the style of a seguidilla , though stylistically it

182-424: The verse and chorus are in contrasting verse–chorus form . Examples include: Songs that use the same harmony (chords) for the verse and chorus, such as the twelve bar blues , though the melody is different and the lyrics feature different verses and a repeated chorus, are in simple verse–chorus form . Examples include: Songs which feature only a repeated verse are in simple verse form (verse–chorus form without

196-475: Was large enough for me. This poem by Andrew John Young has three stanzas of six lines each: Frost called to the water Halt And crusted the moist snow with sparkling salt; Brooks, their one bridges, stop, And icicles in long stalactites drop. And tench in water-holes Lurk under gluey glass-like fish in bowls. In the hard-rutted lane At every footstep breaks a brittle pane, And tinkling trees ice-bound, Changed into weeping willows, sweep

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