1.FISH
Composition resulting from the version and reinterpretation of two traditional themes. The first song, the variation of a beautiful gypsy song that, during the confinement of 2020, I learned from my friend Moncho Borrajo who in turn, as a child heard him sing to his mother Dina, a native of the municipality of Baños de Molgas and his father Ramón, born in the municipality of Maceda. The following is a personal recreation and recomposition from the version of a catch that the AC Xacarandaina, directed by the master Henrique Peón, recovered in the municipality of Malpica de Bergantiños.
Two great friends are collaborating on this subject: Pablo Doval with his Tuba, a musician from Liño do Cuco and my great friend Fran Lucas with the Arpa de boca, a renowned percussionist of the group 'COETUS'
The rest I could tell, I can't tell here… give name to the whole record… interpret yourselves, that the lyrics are taken first !!
A `Minhoto´
My friend, the artist from Vigo, Moncho Borrajo Domarco.
Composition resulting from the version and reinterpretation of two traditional themes. The first song, the variation of a beautiful gypsy song that, during the confinement of 2020, I learned from my friend Moncho Borrajo who in turn, as a child heard him sing to his mother Dina, a native of the municipality of Baños de Molgas and his father Ramón, born in the municipality of Maceda. The following is a personal recreation and recomposition from the version of a catch that the AC Xacarandaina, directed by the master Henrique Peón, recovered in the municipality of Malpica de Bergantiños.
Two great friends are collaborating on this subject: Pablo Doval with his Tuba, a musician from Liño do Cuco and my great friend Fran Lucas with the Arpa de boca, a renowned percussionist of the group 'COETUS'
The rest I could tell, I can't tell here… give name to the whole record… interpret yourselves, that the lyrics are taken first !!
A `Minhoto´
2. COAST OF LIFE
Arrangement of two traditional themes recovered in the parish of Arcos, in the A Coruña City Council of Mazaricos. Specifically, two tones of jota typical of the villages of Cabanude and Xián are both located on the inner face of the unique mountain `O Pindo´, where the river Xallas flows into the sea as a spectacular waterfall.
The theme is nourished by some traditional song and many others by me to express the uneasiness as he walks in search of the reunion with an already extinct world. He speaks of the longings of a way of life where the houses had no locks, where solidarity and commonwealth were a religion and the balance of the human being with Mother Nature, a necessary philosophy. Coast of life is the search for a love that will never return, at least in the way you keep it in your imagination. Uneasy and attached to a world already forgotten, without being able to accept his own passing.
Composition resulting from the version and reinterpretation of two traditional themes. The first song, the variation of a beautiful gypsy song that, during the confinement of 2020, I learned from my friend Moncho Borrajo who in turn, as a child heard him sing to his mother Dina, a native of the municipality of Baños de Molgas and his father Ramón, born in the municipality of Maceda. The following is a personal recreation and recomposition from the version of a catch that the AC Xacarandaina, directed by the master Henrique Peón, recovered in the municipality of Malpica de Bergantiños.
Two great friends are collaborating on this subject: Pablo Doval with his Tuba, a musician from Liño do Cuco and my great friend Fran Lucas with the Arpa de boca, a renowned percussionist of the group 'COETUS'
The rest I could tell, I can't tell here… give name to the whole record… interpret yourselves, that the lyrics are taken first !!
A `Minhoto´
Neighbor of the parish of Arcos, Mazaricos.
3. CHIQUIS CHAQUES
Tones collected from two Chiquis-chaques from the hand of the neighbors of the parish of Gargamala, in particular, of the neighborhoods of Mourelle and Boente. From these two rumbas, typical of the repertoire of the fiadas and seráns, is this theme.
His metaphorical lyrics, taken from traditional songs and others of his own creation, seek a reflection on what elements we should preserve and which we should reject from our ancient cultures.
Within the social norms of each tribe, whatever they may be, each member performs a particular function and is integrated, protected, and accepted by the mere fact of being part of it. Of course, as long as you accept on foot each and every one of the rules of that particular tribe. Otherwise, at least two ways can happen: the most tragic is the right to expulsion, dispossession and exile. The other, seemingly less aggressive but far more cruel, is part of the false tolerance and eternal forgiveness that leads that tribe to feel at peace with their deities for having accepted such deviation. Of course, make no more noise and, as penance, pay religiously and indefinitely that debt to yours for such pious mercy.
The different ones spend half our lives adapting, modifying behaviors against our nature and another half trying to understand that new being that lives in us but that we are not able to recognize.
Everything is learned, yes, but I didn't miss it.
A place, listen !!
They will be in charge of the neighbors of the parish of Gargamala, Mondariz.
Miña Nai por me casar-e
Ofreceume canto tiña
Aghora que me casei-e
Paghoume cunha sardiña
Miña Nai por me casar-e
Ofreceume tres ovellas
Unha cegha e outra xorda
E outra que non tiña orellas
Miña Nai por me casar-e
Ofreceume bois e vacas
Aghora que me casei-e
Paghoume cunhas abarcas
Miña Nai por me casar-e
Ofreceume sete cuncas
Aghora que me casei-e
Nunca chas vin todas xuntas
Miña Nai por me casar-e
Ofreceume unha moenda
Aghora que me casei-e
Nin ma dou nin se lle espera
Miña Nai por me casar-e
Ofreceume dúas landras
Aghora que me casei-e
Nin mas deu nin se lle agharda
Raices da miña banda
Habedes de perdonar-e
Teño unha falta na i-alma
Non a podedes contar-e
4. ANIMAL
From the Galician lands of tungsten come these three songs that together make up a final composition of muiñeiras collected in Carcacía (Padrón), Magán (A Estrada) and A Casiña (Cuntis). With this energetic formwork, I want to provoke the feeling, with determination and vehemence, of that self-destructive drift that we humans have condemning us to an asulagado existence of stress and nonconformism, of the eagerness and haste to reach as soon as possible a final place never reached.
I also disguised the agony of that search with more search dressed in success and position. I was convinced and I was convinced that it is this law and this strategy the essential element to achieve unattainable peace and happiness. I was clumsy, I didn't go slow, I didn't go back. I forgot, I was never even taught, or I think I did not want to learn, the path of the pleasant tasting of every little moment that erodes us, ages us and at the same time beautifies us. I ignored the careful observation of each of the places that would have made me vibrate. I abandoned people who accompanied me on every little path of this walk for a deceptive `much greater´. I lived intense and tremendously fast, to chimpos, wasting very little time on crumbs. It wasn't all lost, but I didn't invest it either.
But there comes a time when the life that shouts `arre´, pulls the run and orders` Xó´. Then there is no other; better would be worse. I hid my forehead lost and when I opened my eyes I saw something I had never seen. There, to the my foot. Gradually I shifted my gaze to all the things around me. I felt reborn, now older, in a different world. I weighed and pondered, and felt every little detail around me. .
And to me, honestly, right now it takes me a long time…
I made decisions, I moved tab…
And you appear, my angels.
Three great voices of my friends and ex-companions of the Pandereteiros of the 'ACF O Fiadeiro' take part in this subject: Diego Cabaleiro, Diego Calviño and Iván Blanco.
A Adrao Casal and Artur Puga
Carmen Dios, Balbina Ojea and Elisa Dios. Neighbors of San Pedro de Carcacía, Padrón.
Inda aghora reparei-e
Quen andaba no torreiro
Anda caravel e rosa
Anda o ramalliño enteiro
Ai la lala…
Excusabas doutro par-e
Pra beila-la muiñeira
No teu lar non ch´ha faltar-e
Unha vida beiladeira
Ai la lala…
Andei d´arriba pra baixo
Movendo o paparrucheiro
Na miña casiña tiña
Quen me a mín leve ao turreiro
Ai la lala…
Pra vida de beilador-e
Excusabas máis parellas
No teu lar non ch´ha faltar-e
Pra beila-la muiñeira
Ai la lala…
Daquí onde tou ben vexo
Dous Muíños a moer-e
Un anda i-outro desanda
Así fai o ben querer-e
Daqui onde tou ben vexo
Follas do Verde Loureiro
Tamén vexo Dúas Prendas
Valor de moito diñeiro
Era de nogal, era de nogal o santo, era de nogal, por eso pesaba tanto… animal
E como son ghaiteiriño
O quefacer polo vran-e
Todos sachando no millo
Eu coa ghaita na man-e
Ai la lala…
Chisquiño tabas descalso
Chisquiño porque querías
A casa dos sapateiros
Chisquiño ben a sabías
Ai la lala…
Como ghaiteiriño son-e
O quefacer polo inverno
Todos a esfolla-lo millo
Eu coas mans no punteiro
Ai la lala…
Chisquiño descalso tabas
Chisquiño por porfiar-e
A casa dos sapateiros
Tíñala da túa man-e
Ai la lala…
Daquí onde tou ben vexo
Dous Muíños a moer-e
Un anda i-outro desanda
Así fai o ben querer-e
Daqui onde tou ben vexo
Follas do Verde Loureiro
Tamén vexo Dúas Prendas
Valor de moito diñeiro
Era de nogal, era de nogal o santo, era de nogal, por eso pesaba tanto… animal
Non din en caír na conta
Xa Caín e cairei-e
De ter caído máis antes
Non amaba a quen amei-e
Ai la lala…
Andiveche a sementar-e
Montes pradíos e veighas
A augha das sete fontes
Nasía na túa eira
Ai la lala…
Dixen cantighas e coplas
A quen me non meresía
Moitas máis lle hei de cantar-e
Ás prendas da miña vida
Ai la lala…
Andiveche a sementar-e
Mpntes veighas e pradíos
A augha das sete fontes
Nase no teu labradío
Ai la lala…
Daquí onde tou ben vexo
Dous Muíños a moer-e
Un anda i-outro desanda
Así fai o ben querer-e
Daqui onde tou ben vexo
Follas do Verde Loureiro
Tamén vexo Dúas Prendas
Valor de moito diñeiro
Era de nogal, era de nogal o santo, era de nogal, por eso pesaba tanto… animal
5. SNAILS
From one of those special people, wise, kind and generous, humble in blood and heart, my eternal friend Concha de Luneda, comes a beautiful jota in which I was inspired to make this theme. She was everything: a farmer, a nurse, a craftswoman, a worker and a businesswoman in an inn where Galicians who emigrated to Catalonia never lacked a plate or a bed. Yes, there he emigrated with the post, there he learned to read, and since he has done so he has devoured thousands of books. There she learned the Catalan language, a language she mastered perfectly, and when she was so rich that she had no weight, she returned to her land to be herself and share with dedication and affection all her fortune, her kindness, her knowledge and his white soul.
He cared for them, gifted them, taught them, welcomed them, and spent his last days accompanying, caressing, and helping those neighbors who were alone, in need, abandoned, and hindered in the last days of their lives. He also enjoyed his youth, going to the evenings, traveling and exhibiting himself with masterful art in front of the audience of the big stages where he exhibited that special and wonderful gift of troveira and improviser. He let the silence be the perfect companion of his incredible voice pregnant with feeling.
And with all that, they thought you were crazy! Go, then, a madness full of truths, because Concha, I want to be mad like you.
Thanks always, THANK YOU !!!
And what about Aida Tarrío, one of the Tanxugueira , formed in the Tahume Group of Olveira (Ribeira), my good friend and colleague in ENTRESOÑOS , show of the company of my more than brother ` Fran Sieira Dance Company ´. Fran Lucas is taking part in this theme, this time playing a Bendir and my great friend Úrsula Rial with her wonderful Requinta.
Just listen to it !!!!
Concha de Luneda at the García Barbón Theater in Vigo at the V gala 'Tonight there is a thread' held in 2006.
Ai! tate aquí Pepe, non marches
Ai! Que imos face-lo ghisado
Ai! Con ghrilos da borralleira
Ai! Caracoles do valado
Ai!, almorcei en cas fo cura
Ai! Inda hei volver a xantar-e
Ai! Se non me arrimo a quen ten-e
Ai! Quen non ten que me ha de dar-e
Caracoles con coles es mi comida
Una caracolera me dió la vida
Me dió la vida, me dió la muerte
Caracoles con coles, comida fuerte
Ai! O corazón dunha pulgha
Ai! Quen o soubera ghisar-e
Ai! Daba xantar e merenda
Ai! A cea para cear-e
Ai a lendia mailo piollo
Ai! Andan na herba a seghar-e
Ai! Volaí vai o gharrapato
Ai! Dirriado co xantar-e
Caracoles con coles es mi comida
Una caracolera me dió la vida
Me dió la vida, me dió la muerte
Caracoles con coles, comida fuerte
Ai os cabaliños do demo
Ai! Cando vao aos gharabullos
Ai! Asubíanlle os laghartos
Ai! Polos furados dos muros
Ai unha manada de ratos
Ai! Todos xuntos nun faiado
Ai! A rezarlle a San Antonio
Ai! Que os case de contado
Caracoles con coles es mi comida
Una caracolera me dió la vida
Me dió la vida, me dió la muerte
Caracoles con coles, comida fuerte
Ai! Se ti vira-lo que eu vin-e
Ai! Quedabas abaneando
Ai! Unha cadela con pitos
Ai! Unha ghaliña ladrando
Ai! Dende que che son nacido/a
Ai! Na miña vida tal vin-e
!Ai unha cabra cunha roca
Ai! Un castrón cun violin-e
Caracoles con coles es mi comida
Una caracolera me dió la vida
Me dió la vida, me dió la muerte
Caracoles con coles, comida fuerte
Hei de cantar acó enrriba
Pora que sintan aló en medio
Pra que digha meu irmán:
meu irmán non ten remedio
Ai la la…
Hei de cantar aló en baixo
Pra que sintan aló enrriba
Pra que digha miña Nai:
Esta é a súa filla
Ai la la…
Hei de cantar e bailar-e
Ata que me leve a morte
Que o diñeiro do meu amo
Non se Ghaña nesta sorte
Ai la la…
Non se Ghaña nesta sorte
Do meu amo, seu diñeiro
Teña folgho miña voz
Teña sal o meu saleiro
Ai la la…
6. THE SILVER
At certain ages one notices that every past event happened, perhaps, a couple of years ago. Well, madia leva, which will be a couple of years ago on a beautiful weekend in Sanabria, walking the streets of Puebla, I heard tambourines. Obviously I followed that sound, like a prey dog on its trail. And there was Pepa enthralling a group of smiling neighbors who poured happiness among popular songs. There was no more monumental visit that afternoon but connection, exchange of songs and, as you can guess, perfect commotion.
Pepa Calvo Núñez, a native of Zamora and a member of the impressive Ethnographic Group “ Bajo Duero ” in its beginnings, was later together with the renowned Edelio González (her husband), Paco Pedrón (her great friend) and Alberto Jambrina (the arranger and no less friend). ) who formed the group "Habas Verdes", doing invaluable work in the field of recovery and transmission of the musical legacy. Pepa, teacher of popular songs in the Escuela de Sanabria del Consorcio de Zamora , taught me a song by Aliste with his tambourine, a song that I include in this theme and for which I am much more than grateful.
I complete this my version and revision, with a chorus of a Charro also very popular alistano that, already the teacher and icon of the peninsular traditional music D. Eliseo Parra, had the right to versionar in his successful subject “La llave de la alegría”.
And they say call him “La PLata” in reference to that road that crosses the lands charras connecting this our Atlantic corner with the cultures of the south of the peninsula and how it could not be otherwise to participate the well-loved Fran Lucas touching the blessing.
Pepa Calvo Núñez. Puebla de Sanabria. Playing an Alistano charro.
Dicen que la harán, la harán
La fuente para beber
Ole y ole dicen que la harán la harán
Ole y ole y no la acaban de hacer
Al pié de un árbol sin fruta
Me puse a considerar
Ole y ole que pocos amigos tiene
Ole y ole el que no tiene que dar
Por debajo del aro de mi pandero
Como veo lo malo veo lo bueno
Acuérdate madama cuando te regalé
La cinta para el pelo, la hebilla para el pié
Ole, olé madama… de tí me enamoré
Por esta calle a lo largo
A lo largo a lo tendido
Ole y ole si mi amante es un borracho
Ole y ole la culpa la tiene el vino
Si canto me llaman loco
Y si no canto cobarde
Ole y ole si bebo vino borracho
Ole y ole si no bebo miserable
Por debajo del aro de mi pandero
Como veo lo malo veo lo bueno
Acuérdate madama cuando te regalé
La cinta para el pelo, la hebilla para el pié
Ole, olé madama… de tí me enamoré
A los caños de una fuente
Tengo mi caballo atado
Ole y ole que venga un majo valiente
Ole y ole que se atreva a desatarlo
Estrella de fuego fuiste
Y en mi corazón entraste
Ole y ole dejaste el fuego encendido
Ole y ole y despues te retiraste
Por debajo del aro de mi pandero
Como veo lo malo veo lo bueno
Acuérdate madama cuando te regalé
La cinta para el pelo, la hebilla para el pié
Ole, olé madama… de tí me enamoré
La despedida canto
no me han oído
Con todos mis honores
yo me despido
Ai! Que dolor,
señor militar
Con el fusil al hombro,
el paso regular
(…)
Acuérdate madama cuando te regalé
La cinta para el pelo, la hebilla para el pié
Ole, olé madama… de tí me enamoré
7. MANOLO
And modernity arrived, skirts lost their wheel, pilgrimages had an `orchestra 'and clinging rhythms began to become the prevailing new style. "The radio", the main transmitter of new fashionable music. And of course, at the tambourine parties, the defendant had to sing. They were soon able to adapt the tambourines and their tones to the new styles to offer, in the best possible way, what was required by the youth. Rumbas, fox trots, polkas, etc. appeared, and in this case, `Manolo ', the mazurkas. The symbiosis between what is acquired as a melodic and lyrical borrowing in a language foreign to inherited popular culture is curious. Castilian retrospectives interspersed with old songs perfectly combined. In Paredes (Ponteareas), this new dance rhythm was called `Dos Pasos´, referring to the two types of movement of this dance. In this case, we wanted to honor the neighboring popular culture by slightly adding the original version to one of those `seguidillas´ so popular on the peninsula. Undoubtedly for us, a theme of brotherhood, reticent and adept, that this always does very well.
Collaborate Xan Pérez, one of the members of the group, but this time as a solitary voice.
Adoration Toucedo and Clementina Alvarez. Residents of the parish of Paredes, Ponteareas, performing the 'Two Steps'.
Manuel fixo unha fonte
Botoulle o bico de ouro
As mozas non beben nela
Manuel mátase todo
Oye! Manolo! no llores tanto
Porque se te oye en el camposanto
Nel camposanto, nel cementerio
Oye! Manolo! por tí, me muero
Manuel fixo unha fonte
Botoulle o bico de prata
As mozas non beben nela
Manuel todo se mata
Oye! Manolo! no llores tanto
Porque se te oye en el camposanto
Nel camposanto, nel cementerio
Oye! Manolo! por tí, me muero
Manuel fixo unha fonte
Botoulle o bico de vidro
As mozas non beben nela
Manuel mátase vivo
Oye! Manolo! no llores tanto
Porque se te oye en el camposanto
Nel camposanto, nel cementerio
Oye! Manolo! por tí, me muero
Manuel fixo unha fonte
Botoulle o bico de ferro
As mozas non beben nela
Manuel mátase enteiro
Oye! Manolo! no llores tanto
Porque se te oye en el camposanto
Nel camposanto, nel cementerio
Oye! Manolo! por tí, me muero
8. WATER
Each of the people who have opened the door for me in these already 30 years of recovery, deserve all my gratitude, respect and sincere affection. But I must admit that there is always that place and those people with whom one returns incessantly. If anyone deserves my special mention, this is the house of Aida and Rosa Garrido Casqueiro. Two sisters from Moscoso (Pazos de Borbén) with whom, for more than 15 years, I spent countless hours living together and learning. What at first was a visit with the gay man to record songs and dances of some time, was to give in lunches of copious cooked of `escornante, fozante and volante´, weekly nocturnal meetings in which the wine and the coffee liquor were the perfect excuse not to handle and stay a night of squatting. A home that has welcomed dozens of my friends, turning them into family and for whom the doors have always been open.
`From the top of the Cacho
I have to whistle
I'm still who I was yesterday
I haven't lost my temper yet. ”
Aida and Rosa, Rosa and Aida were my muses. Well I could say they live inside me, when I sing, when I’m in celebrations among friends. To notice in so many years of walking is to always keep in mind the parish of Moscoso. Sometimes I have so vivid all the stories they told me that it even seems like they were my own, and maybe I sleep.
This theme is an amalgam of several songs from them, from the jota, originally from San Vicente de Trasmañó (where Rosa's husband was born), to fragments of other jotas from this place or even from the neighboring village of Calvos (Fornelos de Montes). , where Aida, much older than Rosa, used to go in the evening. But it is also a perfect solution to those feelings sown deep within me. Feelings away from nostalgia, because every second of this priceless company is alive as if it had happened even last night.
And in this "Water", I am very lucky to have the invaluable collaboration of the bagpiper Pepe Vaamonde with whom I have spent more than ten years of music. A special pride is the participation of Natalie Haas and Alasdair Fraser as luxury performers and arrangers, in part on this subject. They were responsible for my assistance as an instructor of traditional Galician music and dance in their world-renowned `Fiddle Camp '.
Exceptional guests representing so many and so many artistic experiences within my life in the field of traditional and folk music. Half a life that has been many things, but I never promise have been bored.
The other half !!!
Aida and Rosa Garrido Casqueiro, neighboring sisters of the parish of Moscoso (Pazos de Borbén)
Tate aquí que vou de presa que vou abrir unha poza
Que a teño encharcada no corazón dunha moza
Fun ó río beber água
Na casca da `balansía´
Nin bebín nin troien água
Nin falei a quen quería
Fun ó río beber água
Na casca dunha laranxa
Fun por ve-los meus amores
O meu corazón non cansa
Aghora xa foi, na deixaras ir
A túa cabeza dache que sentir
Dache que sentir
Dache que pensar
Aghora de feita non vale chorar
Fun ó río beber ághua
Na casca da flor da froita
Fun por ve-los meus amores
Que a sede non era moita
Fun ó río beber ághua
Na casca dunha xudía
Fun por ve-los meus amores
fun de noite e vin con día
Aghora xa foi, na deixaras ir
A túa cabeza dache que sentir
Dache que sentir
Dache que pensar
Aghora de feita non vale chorar
Polo mar abaixo vai unha bubela
Ela fala a i-outro e outro fala a i-ela.
9. NIN MAL NIN BEN
As a child, my father, `Pepín´ (José Antonio Feijoó), took me to see a concert of` Milladoiro ´ at Ferreira de Pantón. I think there are too many words to describe that experience and I remember having a deep thought:
"Someday I'll be there."
Today I release my first work with the collaboration of one of the very few idols I have ever had. The master D. Rodrigo Romaní . A dream come true through this version of a grip learned from the more than currants, friends and brave women of the parish of Toutón (Mondariz), whom I love for life.
The theme? Better to hear it, "Neither bad nor good."
hehe
urora da Patrona, nicknamed Barros Martinez, a neighbor of the parish of Toutón, Mondariz.
Xastre tráioche un recado
A máis non é de costura
Que che quero preguntar-e
Se o mal de amores ten cura
O mal de amores ten cura
Mal de amores cura ten-e
Eu xa tiven mal de amores
E non mos curou ninguen-e
Amores xa tiven eu-e
Que me decían chorando
Que nunca me olvidarían
E me estaban olvidando
E me estaban olvidando
Cos ollos a baghullar-e
E nas baghullas dicían
O pagho que habían dar-e
Amores que se ghababan
Que me habían de deixar-e
Daquela deixeinos eu-e
Correron a se alabar-e
Correron a se alabar-e
A se alabar foron dreitos
Como xa foi noutro tempo
Quedóucheme todo feito
A despedida foi pronta
O loito xa foi por diante
Como xa foi noutro tempo
Adeus pedra de almirante
Adeus pedra de almirante
Que de brilante se cubre
Non hai mal que non acabe
nin hai ben que sempre dure
10. ANCHORS
One of the most romantic things I've noticed about our people is the fact that we always live between songs, music and whistles. At any hour of the day, from the parlor of a farmhouse, incessant songs were heard. People who were in the fields, grazing, walking the roads… I sometimes tried to imagine how that amalgam of different songs could come from such disparate places in a land amplifying each natural sound due to the absence of artificial noise pollution. They say, then, in this introduction that I am overwhelmed by two great reasons: the beauty of those songs of the mowing of the eastern mountains, the natural barrier between our land and the rest of the peninsula, and the masterful interpretation of two people I love madly. My great and generous friend Alba Faro, and my little Xan Pérez.
I hope, when you hear this introduction, feel what I truly, from the heart, cannot help but feel.
And we end with a party, a dance party, a relationship, exaltation and excitement through two millers from Ancares. The first of the tambourine singers, followed by another recovered from the immeasurable bagpiper `O Poso´.
If you end up playing, this album is well worth it.
Polavila in Vilarello da Igrexa. Parish of the Lugo City Council of Cervantes, in the Sierra de los Ancares.
Segador que sega e sega
Debajo de la neblina
Se non te corta a gadaña
Saca la piedra y afila
Hen dir as segas hen dir
Hen de leva-la morena
Anque non corte unha palla
Á noite durmo con ela
Os vellos non valen pre certos traballos
Os vellos non valen pre certos traballos
O demo chos tenta en meterse en fregados
O demo chos tenta en meterese en fregados
Ó cabo leirín ó cabo
O cabo leira de trigo
Se o noso amo é honrado
Ha pagarnos un cuartillo
Se non se meteran mellor lles sería
Se non se meteran mellor lles sería
Un plato de papas e quenta-la barriga
Un platín de papas, quenta-la barriga
Do outro lado do río
Oín cantar i escoitei
Cantaban os meus ammores
Amores que olvidei
O ghaiteiro da Leighúa
Foi tocar a Villanova
Como non tocaba ben
Botáronlla gaita fóra
Aquela que anda no baile
Non hai quen lle diga nada
Eu lle digo que lle digan
Morena viva quen baila
Esta pandeira que toco
é de pelica de corzo
Tócana en Pelliceira
Resona en Arandoxo
Vou a da-la despedida
no se la quisiera dar
Que se van mis camaradas
Non me quieren aguardar
Vou a da-la despedida
A todos en general-e
Que meu corazón non quere
Con ninguno quedar mal-e