FLAMENCO GUITAR, SONG AND DANCE STYLES
ALBOREÁS : Wedding song of the Andalusian gypsies.
ALEGRÍAS DE CADIZ: Genuine descendant of JOTA ARAGONESA that was brought to Cadiz at the beginning of 19th century.
ALEGRÍAS DE CORDOBA : In the province of Cordoba Alegrias are sang in minor tones.
ALEGRÍAS POR ROSA : A more brilliant and exciting version of Alegrias based on a traditional old theme, La Rosa.
BAMBERA : In fact it is a personal creation of the great singer “Niña de los Peines”.Built upon the rythm of bulería por soleá it was very often used as a lulling song also.
BULERÍAS : This Gypsy dance from Jerez de la Frontera is the most typical FLAMENCO rhythm. Their name derives from the word “burla” which means “mockery” or “joke”.
BULERÍA POR SOLEÁ : The link between the basic and old rhythm of soleá Antigua and the early form of Bulerias is still executed as a separate style.
CALESERA : A popular Andalusian song, created to make the long distance trips of the “caleseros” amusing, was finally adapted in FLAMENCO repertory but disappeared later as the nomadic movements of gypsies the disappeared also.
CAMPANILLEROS : A Christmas-carol like song. Sometimes very rhythmical, other times monotonous it serves as a religious song.
CAÑA : The Arabic word “ Guannia” which means “song” gave name to this primitive flamenco style, which is very melancholic and used for religious purposes, also.This style is said to be a personal cration of the great guitarist Niño Ricardo.
CANTIÑAS : Very similar songs to Alergias de Cadiz, based on gay and vivid music.
CARACOLES : Flamenco style which has the rhythm and beat of Cantiñas. It was created by a merchant of snails in order to advertise the snails he was selling in the village of Sanlúcar de Berrameda.
CARCELERA : The song that deals with the prisoners’ obligatory work and their tragedies has no guitar accompaniment.
CARTAGENERA : It is actually a Fandango Grande variation that represents the “cante de Levante” version of Cartagena. It belongs to the family of the “Mine Songs”.
CHUFLA : A totally gypsy rhythm where guitarist and dancer improvise making contratiempos on the rhythm of Bulerias in a very fast movement.
COLOMBIANA : The hispanoamerican rhythm which originated in Colombia, was adapted in flamenco repertory and is interpreted in a very similar way to Rumba Gitana.
DEBLA : A pure Cante Jondo (deep song) without guitar accompaniment. The beat is given by the walking sticks the singers handle when singing it.
FANDANGO : This popular Andalusian song is the basis of all local fandangos heard throughout Andalucia.
FANDANGO DE HUELVA : Every district of Andalucia has its own Fandango style. The most typical and popular, though, is that of the Huelva province.
FARRUCA: This song originated in Galicia of North Spain, and was later adapted to Flamenco repertory being the most typical male dance.The words of the song have been almost forgotten and only few artists sing LA FARRUCA today.
GARROTÍN : Being similar to Farruca this Asturian folk song was adapted to FLAMENCO repertory after travellers from North Spain brought it to Andalucia.
GRANADINA : The way that gypsies from Granada sing the Fandango has many Arabic and Muslim influences. They call it Granainas.
GUAJIRA : This rhythm has a Latin American origin. It dates back to the Spanish colonization of Cuba.
JABEGOTES : A style derived from Fandango is Verdiales, which isvery popular in Malaga. At its many variations the rhythm of Jabegotes is also numbered.Their name derives from the word “jabega” which means seine-boat.
JABERA : It is a variation of the Fandangos de Málaga. Its name derives from the Arabic word “Jaba” which means woods, forests.
JALEO : In flamenco it means the exclamations that accompany the dance or song but it is also used to describe the folk Spanish dance that Soleares derived from.
JOTA : This well loved folk song and dance from the province of Aragón was transported to Cadiz during the 19th century and gave life to the Alegrias de Cadiz.
LEVANTISCAS : One of the song variations of Cante de Levante which is actually the Fandango form as heard in Almeria.
LIVIANA : The song every iron smith sang when he was tired at the end of his daily work was not accompanied by guitar before the second half of the 20th century when it adapted Serrana’s tone rhythm and style.
MALAGUEÑA : A woman from Málaga is called Malagueña. The song that carries this name is very free rhythmically, so it is not danced but only sung or played as guitar solo. It’s character is very mournful.
MALAGUEÑA BOLERA : The gay and happy edition of Malagueña is called Malagueña Bolera. It has a very cheerful dancing rhythm and classical Spanish dance similar to Verdiales. Sometimes it is referred to as Malagueña Regional.
MARIANA : This Andalusian song has been appearing and disappearing like a comet in the sky of Flamenco. It was a folk song adapted to Flamenco in the rhythm and style similar to that of Tientos.
MARTINETE : One of the primitive Flamenco songs, which is not accompanied by guitar. Its rhythm is kept by the ironsmith’s hummerbeats on the anvil. The hummer (martillo) gave the root to the name of Martinete.
MEDIA GRANADINA : Another version of Granadina is Media Granadina. It is really a Fandango Grande, that has the constant rhythm of Fandango and it is not rhythmically so free as Granadina.
MILONGA : This mournful Flamenco like song has Hispanic American origin. The words of their catastrophic consequences. Milonga is a descendant of the Argentinean “Tango” (not Tango Flamenco). In Flamenco repertory it was adapted in a style very similar to the mixture of Zambra and Tientos, what some artists call Tientos por Zambra, or Tanguillo Zambrillo.
MINERA : The song of the mines has a very slow drawing rhythm. Like Taranto, they are the only songs of the family of mine songs that can be danced.When sung it has the same tone with Tarranto but when played as a guitar solo it has a different tone.
MIRABRÁS : It belongs to the family of Alegrias and is sung in the characteristic tone of Alegrias por Rosa and Romera.
MURCIAÑA : Murcia has also its own mine song which is called Murciaña and is a “cante de levante” version of Fandango, very similar to Gartagenera.
NANA : This is the lulling song Andalusian mothers used to make their babies sleep.
PALMARES: Religious song with Hispanoamerican roots.
PANADEROS : The baker’s dance is based on a very exciting and vivid rhythm, similar to Sevillianas. It took their name since “panaderia” means the baker’s shop and panaderos their dance.
PETENERA : One prostitute from the village of Paterna de la Ribera passed to the history as the superstituous element of Flamenco. Supertituous gypsies never sing this song in public because they have connected it with death.
POLO : Build on the rhythm of Soleares it is one of the primitive Flamenco songs. Its character is very similar to that of Caña.
ROÁS : This oriental originated song is very soldemnly heard today only in gipsy juergas (private music events).
ROMANCE GITANO: Primitive forms of flamenco songs that have been lost over the years were also named CORRIDOS or CORRIDAS.
ROMERA : Flamenco song which belongs to the rhythmic family derived from Alegrias and Cantiñas de Cadiz.
RONDEÑA : When the Fandango de Ronda is sung, its rhythm is very similar to Verdiales de Malaga. When it is played as a guitar solo it is quite different in character, mood and tone being a personal cretion of the great guitarist Ramón Montoya.
RUMBA FLAMENCA : Latin American rhythms penetrated the Spanish music just as Spanish rhythms influenced the music of Americas. Rumba was adapted to the Flamenco repertory with the adittion of some Andalusian elements to it and it is known as Rumba Flamenca.
RUMBA GITANA : It is a more flamenco version of Rumba since it is considered to be the development of Tientos and Tangos to the Cuban rhythm of Rumba.Many times it is also called BOLERO FLAMENCO.
SAETA : It is the “arrow of song” by Flamenco singers during the Holly Week percussion in Sevilla. It belongs to the songs without guitar accompaniament but the great guitarist Carlos Montoya has made an arrangement, imitating the military band of the procession,including drums and cornets,the interlude of the unaccompanied song and the procession moving off.
SEGUIRIYAS : The phonetic corruption of the Castilian word “Seguidillas” or “Coplas de Seguida” (=couplets that follow) rhythms. Seguiriyas are closely related to the chants of Synagogue of the Jeus and the Arabic songs. They form the most tragic element of Flamenco.In the past they were also called PLAYERAS.
SERRANA : The song of the hills and the smugglers has the same rhythm with seguiriyas but it lacks their profundity and pain.
SEVILLANAS : The rhythm of Sevillanas derived from “Seguidilla de La Mancha”. Sevillanas are very popular throughout Andalucia. They are danced and sung with the accompaniament of guitar, pulmas and castanets which create a very happy atmosphere.
SOLEARES : Soleares is considered to be the mother of all Flamenco songs. Its name derives from the word “soledad” which means solitud. This basic Flamenco style has influenced many others and it forms the group of fundamental Flamenco songs with Tangos, Tonás and Seguiriyas.
TANGOS : The bright, quick and very suitable to dance rhythm of Tangos originated in the city of Granada. It is one of the basic flamenco songs.
TANGUILLO : The light song and dance from the province of Cadiz has the same rhythm with Tientos but it is lighter, with a distinct quality characterized by a gay mood. It is faster than Tientos but slower than Tangos.
TARANTA : This mine song is the most typical song of the miners.Being a Cante de Levante that is free in rhythm,like Fandango libre, it cannot be danced. It originated at the province of Almeria and deals with the miserable life of the miners.
TARRANTO : Having a strict rhythm, this song is the dancing form of Tarranta.It is very popular in the province of Almeria, where one can find too many mines.
TEMPORERA : The song created by the field labourers in the province of Cordoba. It is something between Trillera and Calesera.
TIENTOS : Build in the rhythm of Tangos, it is the latter’s melancholic version which originated in Jerez de la Frontera.
TRILLERA : Andalusian song of the labourers sung when threshing. It is also called “cante de Trilla” that is “the song of threshing”.
TONÁ : Basic flamenco song without guitar accompaniament. From Tonás derived many flamenco songs as seguiriyas, liviana, saeta and many others. According to the musical intervals the singer uses, they are distinguished in: Toná Grande and Toná Chica.
VERDIALES : This rhythm is very popular in the province of Málaga. It is an old folk dance possibly older than Flamenco itself. It was adapted to flamenco repertory and now it is sung throughout Andalucia.
VIDALITÁ : Latin American originated rhythm incorporated to flamenco repertory as a “cante de ida y vuelta” that in the category of “return songs” with Rumba, Milonga, Guajira and Colombiana.
VILLANCICO FLAMENCO : The folk Andalusian rhythm of Villancico was adapted to Flamenco to serve as religious song.Many Christmas carols are sung on its rhythm as well.
ZAMBRA : The gypsies in Granada gather to Sacromonte to celebrate the Zambras. It is a female dance only. The rhythm has many similarities with Tangos, which also originated in Granada. In all Spanish music Zambra has got the strongest moorish influence.
ZÁNGANO : A song very similar to the Verdiales of Málaga is accompanied in the same way and rhythm with them as all cantes abandolados.
ZAPATEADO : “Zapato” means shoe. The heel sounds have characteristic role to the dance. In early days only men danced it. Today it is danced, also, by women. There is no song for Zapateado. It is only a dance. Its rhythm is similar to the Tanguillos de Cadiz.
ZORRONGO : An old Spanish dance for men wearing a handkerchief. Today the song is also interpreted in the rhythm of Bulerias por Soleá.
ALBOREÁS : Wedding song of the Andalusian gypsies.
ALEGRÍAS DE CADIZ: Genuine descendant of JOTA ARAGONESA that was brought to Cadiz at the beginning of 19th century.
ALEGRÍAS DE CORDOBA : In the province of Cordoba Alegrias are sang in minor tones.
ALEGRÍAS POR ROSA : A more brilliant and exciting version of Alegrias based on a traditional old theme, La Rosa.
BAMBERA : In fact it is a personal creation of the great singer “Niña de los Peines”.Built upon the rythm of bulería por soleá it was very often used as a lulling song also.
BULERÍAS : This Gypsy dance from Jerez de la Frontera is the most typical FLAMENCO rhythm. Their name derives from the word “burla” which means “mockery” or “joke”.
BULERÍA POR SOLEÁ : The link between the basic and old rhythm of soleá Antigua and the early form of Bulerias is still executed as a separate style.
CALESERA : A popular Andalusian song, created to make the long distance trips of the “caleseros” amusing, was finally adapted in FLAMENCO repertory but disappeared later as the nomadic movements of gypsies the disappeared also.
CAMPANILLEROS : A Christmas-carol like song. Sometimes very rhythmical, other times monotonous it serves as a religious song.
CAÑA : The Arabic word “ Guannia” which means “song” gave name to this primitive flamenco style, which is very melancholic and used for religious purposes, also.This style is said to be a personal cration of the great guitarist Niño Ricardo.
CANTIÑAS : Very similar songs to Alergias de Cadiz, based on gay and vivid music.
CARACOLES : Flamenco style which has the rhythm and beat of Cantiñas. It was created by a merchant of snails in order to advertise the snails he was selling in the village of Sanlúcar de Berrameda.
CARCELERA : The song that deals with the prisoners’ obligatory work and their tragedies has no guitar accompaniment.
CARTAGENERA : It is actually a Fandango Grande variation that represents the “cante de Levante” version of Cartagena. It belongs to the family of the “Mine Songs”.
CHUFLA : A totally gypsy rhythm where guitarist and dancer improvise making contratiempos on the rhythm of Bulerias in a very fast movement.
COLOMBIANA : The hispanoamerican rhythm which originated in Colombia, was adapted in flamenco repertory and is interpreted in a very similar way to Rumba Gitana.
DEBLA : A pure Cante Jondo (deep song) without guitar accompaniment. The beat is given by the walking sticks the singers handle when singing it.
FANDANGO : This popular Andalusian song is the basis of all local fandangos heard throughout Andalucia.
FANDANGO DE HUELVA : Every district of Andalucia has its own Fandango style. The most typical and popular, though, is that of the Huelva province.
FARRUCA: This song originated in Galicia of North Spain, and was later adapted to Flamenco repertory being the most typical male dance.The words of the song have been almost forgotten and only few artists sing LA FARRUCA today.
GARROTÍN : Being similar to Farruca this Asturian folk song was adapted to FLAMENCO repertory after travellers from North Spain brought it to Andalucia.
GRANADINA : The way that gypsies from Granada sing the Fandango has many Arabic and Muslim influences. They call it Granainas.
GUAJIRA : This rhythm has a Latin American origin. It dates back to the Spanish colonization of Cuba.
JABEGOTES : A style derived from Fandango is Verdiales, which isvery popular in Malaga. At its many variations the rhythm of Jabegotes is also numbered.Their name derives from the word “jabega” which means seine-boat.
JABERA : It is a variation of the Fandangos de Málaga. Its name derives from the Arabic word “Jaba” which means woods, forests.
JALEO : In flamenco it means the exclamations that accompany the dance or song but it is also used to describe the folk Spanish dance that Soleares derived from.
JOTA : This well loved folk song and dance from the province of Aragón was transported to Cadiz during the 19th century and gave life to the Alegrias de Cadiz.
LEVANTISCAS : One of the song variations of Cante de Levante which is actually the Fandango form as heard in Almeria.
LIVIANA : The song every iron smith sang when he was tired at the end of his daily work was not accompanied by guitar before the second half of the 20th century when it adapted Serrana’s tone rhythm and style.
MALAGUEÑA : A woman from Málaga is called Malagueña. The song that carries this name is very free rhythmically, so it is not danced but only sung or played as guitar solo. It’s character is very mournful.
MALAGUEÑA BOLERA : The gay and happy edition of Malagueña is called Malagueña Bolera. It has a very cheerful dancing rhythm and classical Spanish dance similar to Verdiales. Sometimes it is referred to as Malagueña Regional.
MARIANA : This Andalusian song has been appearing and disappearing like a comet in the sky of Flamenco. It was a folk song adapted to Flamenco in the rhythm and style similar to that of Tientos.
MARTINETE : One of the primitive Flamenco songs, which is not accompanied by guitar. Its rhythm is kept by the ironsmith’s hummerbeats on the anvil. The hummer (martillo) gave the root to the name of Martinete.
MEDIA GRANADINA : Another version of Granadina is Media Granadina. It is really a Fandango Grande, that has the constant rhythm of Fandango and it is not rhythmically so free as Granadina.
MILONGA : This mournful Flamenco like song has Hispanic American origin. The words of their catastrophic consequences. Milonga is a descendant of the Argentinean “Tango” (not Tango Flamenco). In Flamenco repertory it was adapted in a style very similar to the mixture of Zambra and Tientos, what some artists call Tientos por Zambra, or Tanguillo Zambrillo.
MINERA : The song of the mines has a very slow drawing rhythm. Like Taranto, they are the only songs of the family of mine songs that can be danced.When sung it has the same tone with Tarranto but when played as a guitar solo it has a different tone.
MIRABRÁS : It belongs to the family of Alegrias and is sung in the characteristic tone of Alegrias por Rosa and Romera.
MURCIAÑA : Murcia has also its own mine song which is called Murciaña and is a “cante de levante” version of Fandango, very similar to Gartagenera.
NANA : This is the lulling song Andalusian mothers used to make their babies sleep.
PALMARES: Religious song with Hispanoamerican roots.
PANADEROS : The baker’s dance is based on a very exciting and vivid rhythm, similar to Sevillianas. It took their name since “panaderia” means the baker’s shop and panaderos their dance.
PETENERA : One prostitute from the village of Paterna de la Ribera passed to the history as the superstituous element of Flamenco. Supertituous gypsies never sing this song in public because they have connected it with death.
POLO : Build on the rhythm of Soleares it is one of the primitive Flamenco songs. Its character is very similar to that of Caña.
ROÁS : This oriental originated song is very soldemnly heard today only in gipsy juergas (private music events).
ROMANCE GITANO: Primitive forms of flamenco songs that have been lost over the years were also named CORRIDOS or CORRIDAS.
ROMERA : Flamenco song which belongs to the rhythmic family derived from Alegrias and Cantiñas de Cadiz.
RONDEÑA : When the Fandango de Ronda is sung, its rhythm is very similar to Verdiales de Malaga. When it is played as a guitar solo it is quite different in character, mood and tone being a personal cretion of the great guitarist Ramón Montoya.
RUMBA FLAMENCA : Latin American rhythms penetrated the Spanish music just as Spanish rhythms influenced the music of Americas. Rumba was adapted to the Flamenco repertory with the adittion of some Andalusian elements to it and it is known as Rumba Flamenca.
RUMBA GITANA : It is a more flamenco version of Rumba since it is considered to be the development of Tientos and Tangos to the Cuban rhythm of Rumba.Many times it is also called BOLERO FLAMENCO.
SAETA : It is the “arrow of song” by Flamenco singers during the Holly Week percussion in Sevilla. It belongs to the songs without guitar accompaniament but the great guitarist Carlos Montoya has made an arrangement, imitating the military band of the procession,including drums and cornets,the interlude of the unaccompanied song and the procession moving off.
SEGUIRIYAS : The phonetic corruption of the Castilian word “Seguidillas” or “Coplas de Seguida” (=couplets that follow) rhythms. Seguiriyas are closely related to the chants of Synagogue of the Jeus and the Arabic songs. They form the most tragic element of Flamenco.In the past they were also called PLAYERAS.
SERRANA : The song of the hills and the smugglers has the same rhythm with seguiriyas but it lacks their profundity and pain.
SEVILLANAS : The rhythm of Sevillanas derived from “Seguidilla de La Mancha”. Sevillanas are very popular throughout Andalucia. They are danced and sung with the accompaniament of guitar, pulmas and castanets which create a very happy atmosphere.
SOLEARES : Soleares is considered to be the mother of all Flamenco songs. Its name derives from the word “soledad” which means solitud. This basic Flamenco style has influenced many others and it forms the group of fundamental Flamenco songs with Tangos, Tonás and Seguiriyas.
TANGOS : The bright, quick and very suitable to dance rhythm of Tangos originated in the city of Granada. It is one of the basic flamenco songs.
TANGUILLO : The light song and dance from the province of Cadiz has the same rhythm with Tientos but it is lighter, with a distinct quality characterized by a gay mood. It is faster than Tientos but slower than Tangos.
TARANTA : This mine song is the most typical song of the miners.Being a Cante de Levante that is free in rhythm,like Fandango libre, it cannot be danced. It originated at the province of Almeria and deals with the miserable life of the miners.
TARRANTO : Having a strict rhythm, this song is the dancing form of Tarranta.It is very popular in the province of Almeria, where one can find too many mines.
TEMPORERA : The song created by the field labourers in the province of Cordoba. It is something between Trillera and Calesera.
TIENTOS : Build in the rhythm of Tangos, it is the latter’s melancholic version which originated in Jerez de la Frontera.
TRILLERA : Andalusian song of the labourers sung when threshing. It is also called “cante de Trilla” that is “the song of threshing”.
TONÁ : Basic flamenco song without guitar accompaniament. From Tonás derived many flamenco songs as seguiriyas, liviana, saeta and many others. According to the musical intervals the singer uses, they are distinguished in: Toná Grande and Toná Chica.
VERDIALES : This rhythm is very popular in the province of Málaga. It is an old folk dance possibly older than Flamenco itself. It was adapted to flamenco repertory and now it is sung throughout Andalucia.
VIDALITÁ : Latin American originated rhythm incorporated to flamenco repertory as a “cante de ida y vuelta” that in the category of “return songs” with Rumba, Milonga, Guajira and Colombiana.
VILLANCICO FLAMENCO : The folk Andalusian rhythm of Villancico was adapted to Flamenco to serve as religious song.Many Christmas carols are sung on its rhythm as well.
ZAMBRA : The gypsies in Granada gather to Sacromonte to celebrate the Zambras. It is a female dance only. The rhythm has many similarities with Tangos, which also originated in Granada. In all Spanish music Zambra has got the strongest moorish influence.
ZÁNGANO : A song very similar to the Verdiales of Málaga is accompanied in the same way and rhythm with them as all cantes abandolados.
ZAPATEADO : “Zapato” means shoe. The heel sounds have characteristic role to the dance. In early days only men danced it. Today it is danced, also, by women. There is no song for Zapateado. It is only a dance. Its rhythm is similar to the Tanguillos de Cadiz.
ZORRONGO : An old Spanish dance for men wearing a handkerchief. Today the song is also interpreted in the rhythm of Bulerias por Soleá.