Flamenco Glossary of Terms Flamenco Glossary of Terms ›› Learn Flamenco Guitar Now! A � abanico --- fan, rasgueado technique using a triplet pattern of up with the thumb, down with both the middle and ring fingers simultaneously and then back up with the thumb. � afill� --- a type of hoarse, earthy flamenco voice � alante --- stage front � Alegrias --- A joyful dance, in compas of 12 beats, from Cadiz. The main characteristics of this style are the richness of it's guitar accompaniment, the intricacy of the dancing, the demands of the rhythm, and it's lively sound.

� alzap�a --- thumb technique that combines a rest stroke with an up and down strum often separated by a slur (ligado) � Andalucia --- Region from southern Spain; birthplace of Flamenco � anular --- ring finger � arpegio --- a chord whose notes are played in succession, not simultaneously � atr�s --- stage rear � bailaor / bailaora --- dancer (male & female) � bout --- body of the guitar � braceo --- movement of the arms during the dance � bulerias --- High-spirited song & dance from Jerez. This developed like Soleares from a simple style. However, unlike Soleares, it has a fast and lively rhythm - indeed, the fastest in all flamenco and provides enormous scope for improvisation on the part of dancers, singers and guitarists. It is wild, frenzied and lively, but nevertheless contains the germ of sorrow that is almost always present in flamenco.

C � cabales --- Flamenco experts � caf� cantante --- coffee house with flamenco shows (originally starting with flamenco cante but eventually covering all flamenco forms) � cajon --- percussive instrument similar to an empty wooden box � calo --- language of the gypsies � ca�a --- Ca�a, also very closely related to Soleares, is one of The oldest forms of flamenco, and one of the most pure and beautiful. � cantaor / cantaora --- flamenco singer (male / female) � cante --- song � cante chico --- light song, more frivolous � cante jondo --- deep song covering both the dark and serious aspect of Flamenco � cante grande --- more profound song � carcelera --- type of ton�s sung by incarcerated gypsies � Caracoles --- This is one type of canti� which appeared in Cadiz in the mid-19th century. It became strongly associated with Madrid, although it is essentially from Andalucia, like all flamenco music. Curro Cuchares and El Tato' who worked in the bull-rings and were also good singers took this style to Madrid where it became very popular.

Later it was recreated in a masterly way by Antonio Chacon, who gave it its present brilliance and vitality. � cejilla --- capo on a guitar � colombianas --- flamenco style influenced by S.American rhythms � comp�s --- beat, rhythm, measure, the characteristic rhythm of a form � copla --- verse � cuadro --- group of flamenco performers, including dancers singers, and guitarists D � danza mora --- a style influenced by the Moors of N.Africa (stands for Moorish Dance); guitar 6th string tuned to D � debla --- ton� with religious overtones � desplante --- signal given by a dancer, as in "desplante por bulerias" � duende --- the soul force that inspires flamenco art E � estribillo --- similar to the concept of "chorus" in western pop music. i.e verse/chorus..... F � falseta --- a melodic variation played by guitarist � fandango --- a dance from Huelva; cante chico � farruca --- A spectacular male dance, one of the more recent forms of flamenco. Its origin is perhaps in some chants from the North of Spain.

As a dance or as a guitar solo, it is a very dramatic piece. � flamenco --- music/dance from Andalucia in Southern Spain. Roots in Indian, Arabic, Spanish cultures. � floreo --- movement of the hands in flamenco dance G � gitano --- gypsy � golpe --- beat, hit, also refers to the technique of tapping the top of the guitar to create additional percussion. � golpeador --- tap plate on a guitar � Granaina --- a libre song form from Granada that is typically in the key of E minor. � guajiras --- a style influenced by Cuban rhythms H J � juerga --- flamenco party or jam session � jaleo --- utterances of approval, encouragement, also a song form from Extremadura similar to bulerias, but in more of a staight 6/8 feel. � jondo --- deep, profound � letra --- lyrics of a song � llamada --- "call" or "break", dance movement signalling a change of section � ligado --- slur, hammer-ons and pull-offs M � malague�as --- a free form flamenco style (no specific compas, interpretive, and usually not danced) from Malaga.

Descendent of the Fandango family. � manton --- embroidered silk shawl with long fringes � marcando --- movements of the dancer during the letra � martinete --- ton� sung by the gypsies in a forge; refers to hammer � medio --- middle finder � palillos --- castanets, not used in pure flamenco � palmas --- rhythmic hand clapping used to accompany flamenco song and dance � palmeros --- people that clap while the musicians play � petenera --- Cante that is derived from Andalucian folklore. The folklore behind this is that the word is a corruption of "Patenera" who sang the cante and came from Paterna de la Rivera. It is considered by the superstitious to be bad luck to perform. � phrygian --- the 3rd Greek mode named after Phrygia, a kingdom in the west central part of the Anatolian Highland, part of modern Turkey. The Phrygian mode was once thought to possess the power to intoxicate those who happened to hear it. According to legend it was made illegal for this reason. Interesting that it winds up being the fundamental tonality of most flamenco music.

The Phrygian mode in flamenco adds a raised 3rd degree of the scale in addition to its regular minor 3rd scale degree. � picado --- scale technique on the guitar, usually alternating the index and middle fingers. � pitos --- finger snapping used to accompany flamenco song and dance � planta --- sole of the foot � polo --- flamenco song form belonging to Soleares family � pulgar --- thumb � punta --- toe of the foot � punteado --- plucking technique R � rasgueado --- guitar strumming technique � ronde�as --- another free-form style; it uses an alternative tuning for both 3rd and 6th strings, DADF#BE, Similar tuning to the Elizabethan Lute, which is the same up an interval of a minor third � rumba --- another flamenco style influenced by Latin rhythms. Typically an upbeat 4/4 rhythm.

Gipsy Kings songs are mostly rumba as is Paco de Lucia's famous "Entre Dos Aguas" S � salida --- exit � serranas --- same compas as siguiriyas, but played in E instead of A so has a different mood and texture, though some of the same variations can be transposed � Sevillanas --- a folk dance in 6/8 time from Sevilla that has been adopted by flamenco. Usually performed in sets of 4 each with its own verse. Guitarists performing it without a singer usually play each of the 4 sections in a different key. � siquiriyas / seguidillas --- profound cante jondo, accent pattern is the same as solea but starting on the 8th beat. � sole�/ soleares --- cante jondo called the mother of flamenco song. Consists of 12 beats with accents on the 3rd, 6th, 8th, 10th, and 12th. � sole� por bulerias --- literally sole� in bulerias, more specifically a medium tempo 12 beat rhythm that has similar melodic tendancies to that of sole�.

Usually it is played in the key of A Phrygian. subida ---a section that speeds up gradually. T � tablao --- club with stage for flamenco shows � tacaor --- flamenco guitarist � tacon --- heel of the foot � taconeo --- footwork � tango --- baile chico, flamenco song & dance, meduim tempo 4/4 � tanguillo --- flamenco song and dance dervied from the tango. It has a 6 over 4 feel. � tarantas --- another free-form style in F# phrygian � tarantos --- danced so it has a compas, and is related to the tarantas in key, etc. � tientos --- cante jondo, derived from tango � ton�s --- unaccompanied flamenco song. prthaps the earliest known. � toque --- guitar playing, literally to touch � toque libre --- guitar playing with free form rhythm � tremolo --- a guitar technique where the thumb plays an arpeggio accompaniment and the fingers play a repeated note. The pattern in flamenco is p,i,a,m,i.

The famous classical guitar etude "Recuerdos de la Alhambra" utilizes this technique in its classical form. p,a,m,i. Z Flamenco guitar, World Flamenco Glossary Glossary A afillá a type of hoarse, earthy flamenco voice. Not to be confused with afila (one letter 'l'), based on afilada Andaluzian pronuncation, which means cutting or sharp. alante stage front. Andalucian pronunciation of por delante, meaning to be in front. Can mean a cantaor whose skills are strong enough to lead at the front and center of the performance stage when use as p'alante. Alegrias A joyful dance, in compas of 12 beats, from Cadiz. The origin is in the jotas of Cadiz - traditional folk music of Aragon, brought to the Andalucian region by soldiers during the War of Independence in the early 19th century. The main characteristics of this style are the richness of its guitar accompaniment, the intricacy of the dancing, the demands of its difficult rhythm, and its lively sound. Descendent of the Soleares family.

Andalucia region from southern Spain; birthplace of Flamenco. Consists of the eight provinces of Almeria, Cádiz, Cordoba, Granada, Huelva, Jaén, Málaga, and Sevilla. arpegio a chord whose notes are played in succession, not simultaneously atrás stage rear. Andalucian pronunciation of p'atras, meaning to be behind. Based on the word por atras, meaning behind. Ay Spanish term representing either sorrow/pain or happiness by the singer based on the context of the act. B bailaor{a} dancer (male & female) bout body of the guitar braceo movement of the arms during the dance bulerias High-spirited song & dance from Jerez. This developed like Soleares from a simple style. However, unlike Soleares, it has a fast and lively rhythm - indeed, the fastest in all flamenco - and provides enormous scope for improvisation on the part of dancers, singers and guitarists. It is wild, frenzied and lively, but nevertheless contains the germ of sorrow that is almost always present in flamenco. C cabales Flamenco experts.

These individuals fall into a category beyond aficionado and can distinguish the various forms, tempo, beat pattern, and variations on styles. Andalucian term for someone with honor and respect. café cantante coffee house with flamenco shows (originally starting with flamenco cante but eventually covering all flamenco forms) cajon percussive instrument similar to an empty wooden box calo language of the gypsies caña Caña, also very closely related to Soleares, is one of the oldest forms of flamenco, and one of the most pure and beautiful. cantaor{a} singer (male & female) cante song cante chico light song, more frivolous cante jondo deep song covering both the dark and serious aspect of Flamenco cante grande more profound song carcelera type of tonás sung by incarcerated gypsies Caracoles This is one type of cantiñ which appeared in Cadiz in the mid-19th century. It became strongly associated with Madrid, although it is essentially from Andalucia, like all flamenco music.

Curro Cuchares and 'El Tato' who worked in the bull-rings and were also good singers took this style to Madrid where it became very popular. Later it was recreated in a masterly way by Antonio Chacon, who gave it its present brilliance and vitality. cejilla capo on a guitar colombianas flamenco style influenced by South American rhythms compás beat, rhythm, measure, the characteristic rhythm of a form copla verse cuadro group of flamenco performers, including dancers singers, and guitarists D danza mora a style influenced by the Moors of North Africa (stands for Moorish Dance); guitar 6th string tuned to D debla toná with religious overtones desplante section of a dance, as in "desplante por bulerias", performed after the "llamada". May range from several steps to several compass depending on the choreography duende the soul force that inspires flamenco art E entrada entrance of the dancer estribillo a flamenco phrase juerga flamenco party or jam session jaleo utterances of approval, encouragement.

Recognition of the duende jondo variation of hondo most often associated with flamenco dance L letra verse of a song llamada "call" or "break", dance movement signalling a change of section M malagueñas a free form flamenco style (no specific compas, interpretive, and not danced) from Malaga. Descendent of the Fandango family. manton embroidered silk shawl with long fringes marcando movements of the dancer during the letra martinete toná sung by the gypsies in a forge; refers to hammer P palillos castanets, not used in pure flamenco palmas rhythmic hand clapping used to accompany flamenco song and dance palmeros men that clap while the musicians play petenera Cante that is out of the mainstream, derived from Andalucian folklore. The folklore behind this is that the word is a corruption of "Patenera" who sang the cante and came from Paterna de la Rivera. It is considered by the superstitious to be bad luck to play.

picados flamenco scales on the guitar pitos finger snapping used to accompany flamenco song and dance planta sole of the foot polo flamenco song derived from the Soleares family punta toe of the foot punteado plucking technique redonda flamenco voice rondenas another free-form style; it uses an alternative tuning for both 3rd and 6th strings rumbas another flamenco style influenced by New World rhythms; strumming characterized by damping the strings with the whole hand for syncopation S salida exit of the dancer serranas same compas as siguiriyas, but played in E instead of A so has a different mood and texture, though some of the same variations can be transposed siquiriyas/seguidillas profound cante jondo soleá/soleares cante jondo called the mother of flamenco song. Consists of 12 beats with accents on the 3rd, 6th, 8th, 10th, and 12th.

T tablao club with stage for flamenco shows tacaor/tocaor flamenco guitarist tacon heel of the foot taconeo footwork tango baile chico, flamenco song & dance tanguillo flamenco song and dance dervied from the tango tarantas another free-form style tarantos this one is danced, so has a compas, and is related to the tarantos in key, etc. tientos cante jondo, derived from tango tocaor/tacaor flamenco guitarist tonás basic flamenco song. The earliest known. toque guitar playing toque compás guitar playing with fixed patterns of rhythmic beats toque libre guitar playing with free form rhythm tremolo a rapid fluttering of a guitar tone or alternating tones Z zapateados needs very fancy footwork; the compas speeds up, slows down, and speeds up again and is a showcase for dancers (zapato means shoes). Derived from the tango. Phrases Agua Water! It's so hot I need water! Asi se baila That's dancing! Asi se toca That's playing! Asi se canta That's singing! Eso es That's it!

FLamencoTalk.com - Flamenco Dictionary Flamenco Dictionary All News Content Flamenco Dictionary In this section of the website you'll find a dictionary of most-widely used flamenco terms. If you would like to contribute to the content, please feel free to do so here . Afillá- a type of flamenco voice which is hoarse and earthy. Aire - a description of the expressiveness, atmosphere or general character of a Flamenco performance. Alante - the front of the stage Alboreas - a song and dance form which is of pure gypsy origin. Traditionally, Alboreas is sung only at weddings, being considered unlucky during other occasions. Thus, it is basically a gypsy wedding song performed to the compás of bulerías. The word "alba" means daybreak or dawn, which may signify that Alboreas were originally sung at dawn or as a symbolic representation of the dawning of a new life. Alegría or Alegrias - a joyful song and dance form in compás of twelve beats normally played in the key of A Major.

The origin of this dance is found in the jotas of Cadíz located in Southern Spaintraditional folk music of Aragon, brought to the Andalucian region by soldiers during the War of Independence in the early Nineteenth century. The main characteristics of this Flamenco style are the richness of its guitar accompaniment, the intricacy of the dance, the emands of its difficult rhythm and the lively sound. Alegría is a descendent of the Soleá family. The words "alegría" (which is singular) and "alegrias" (which is plural) are commonly interchangeable and mean the same thing. Alegrías Por Rosas - sometimes known simply as "rosas", this is an Alegrias normally played in the key of E Major, which is typically somewhat slow and rather melancholy in melody. Alzapúa - a playing technique which uses the right hand. The thumb is used to play down-and-up strokes across one or a group of strings in combination with apoyando single notes. It may be that this technique developed as an imitation of the manner in which the medieval Arabic 'ud (a form of lute) was played with a wooden plectrum. Ambiente - atmosphere or ambience.

Anacrusis - one or more steps which may be heard immediately prior to the main accent of a phrase (such as in a four-step redoble). Andalucía - a regional area located in Southern Spain which consists of eight provinces. Andalucía is generally accepted to be the traditional birthplace of the art of Flamenco. Anular - the ring finger and a right-hand guitar notation symbol indicated by a lower case "a". Apagado - a muting technique on the guitar which may be accomplished with either hand and is used to cut the sound short. Apagado is also referred to as "parado", which means "stopped". A Palo Seco - anunaccompanied singing style, except for palmas other rhythmic accompaniment. Apoyando - a guitar term which means to play notes using the classical style "rest stroke". All picado passages are played apoyando. Aro - used to describe the curved side of a guitar. It literally means a "hoop". Arpegio or Arpeggio - a chord whose notes are played in succession as opposed to simultaneously, a chord broken up into a series of single notes.

Arrastrao - or Paso Arrastrao - a type of brushing step used in the second copla of Sevillanas. Arrastre - a guitar playing technique by which the ring finger isdragged up the strings from treble to bass. Atrás - the rear of the stage. Ay - lament, duquela, fatigue. If you do 'ay' well, it hurts. Bailaora - female dancer Baile - dance Bamberas - an Andalusian folk song of medieval tradition which may be Celtic in origin. Bamberas is one of the more obscure Flamenco song forms Barrio - district. For flamencos, barrio represents their entire lives, it's the university for flamencos. Boca - The literal meaning of the word is mouth. With relation to Flamenco it means the soundhole of the guitar. Bolero- although not considered to be a component of Flamenco, Bolero nonetheless played an important role in the evolution of some of the more familiar dance forms.

The word comes from the verb volar which means to fly Bout - body of the guitar Braceo - movement of the arms during the dance, including the continuous movement of one or both arms passing from one position to another Bulería or Bulerías - a high-spirited song and dance form which originated from Jerez De La Frontera in Southern Spain and is believed to have evolved as a faster version of Alegrías. This developed, as did Soleares, from a simple style. However, unlike Soleares, Bulerías has a fast and lively rhythm, full of fun and frivolity. In fact, it remains the fastest in all Flamenco and considered by some to be the most difficult. Bulerías provides an enormous scope of improvisation on the part of dancers, singers and guitarists, being very flexible in rhythm and open to sudden bursts of spontaneity and melodic variations. Bulería is wild, frenzied and lively, while still containing the core of sorrow that is almost always present in any form of Flamenco. It occupies a central position in any dance or guitar repertoire and is often reserved as the flamboyant final number in a performance.

The word comes from the verb burlar which means to joke Bulería Por Soleá - a slower variation of Bulería Cabales - Flamenco experts. Also a flamenco palo of Siguiriya family - fast and rhythmic it is usually performed at the end of Siguiriya for a drammatic finale. Cabeza - the head of the guitar. Cadenas - footwork combination in triplets, beginning with the golpe of one foot followed by the heel of the opposite foot and then returning to the beginning foot. Café Cantante - a coffee house which features Flamenco shows. These establishments originally began with Flamenco cante but eventually evolved to encompass all forms of Flamenco. The late 1800s are said to be the "golden age of the Cafés Cantantes. Cajón - a Flamenco rhythm box, a percussion instrument similar in design to an empty wooden box (cajón in Spanish means a crate or a drawer). The cajón was most likely developed in coastal Peru during the early 1800s by dock workers that used empty crate boxes as drums. Calé - means gypsy in Caló.

Caló - Romani language used in Iberian Peninsula, which is basically Andalusian Spanish with a large number of Romani loan words. Campanas - musical section of Zapateado which imitates the sound of bells. Campanilleros - traditionally, Campanilleros are sung during religious processions which begin at dawn and are accompanied by the ringing of small bells. Though not strictly associated with Flamenco, they are frequently sung and played by some artists as a part of their repertoire. Caña - a Flamenco palo which is closely related to Soleares and may even have been its predecessor. Caña is usually cante jondo in nature and generally accepted as one of the oldest Flamenco forms. It is considered amongst the most pure and beautiful. Cantaor - male singer. Cantaora - female singer. Cante - song or singing. Cante Chico - the third of the three general classification of Flamenco songs. It is lighthearted, festive, folkloric and somewhat frivolous in presentation. The name literally means little song. Cante Flamenco - Flamenco song.

Cante Grande - the first of the three general classifications of Flamenco songs, the so-called basic songs which are considered to be the earliest forms of Flamenco. By nature, this is a profound form which is also Cante Jondo. The name means important song. Cante Intermedio - the second of the three general classifications between Cante Grande and Cante Chico. The name literally means middle song. Cante Jondo - deep song or style of singing which covers both the dark and the serious aspects of Flamenco, often seeming harsh and primitive to the untrained ear. Jondo style songs are passionate and profound, usually delivered with much powerful emotion by the performer. Cantiñas - a family of song forms from Cadiz which include Alegrias, Romeras, Mirabras, Rosas and Caracoles. It is thought the word originally described medival songs from Galicia in Northern Spain. Capo - abbreviation of capotasto, a transposing device fixed across the strings of a guitar to raise the pitch. By tradition, its purpose is to pitch the instrument to a singer's voice. Caracoles - a long and dance form from Cantiñas family.

The name literally means snails and it is lighthearted in nature. This song style first appeard in Cadiz and became very popular in Madrid during the 19th century and is rhythmically identical to Alegrias. Caracoles is usually danced with a fan. Carceleras - a type of Tonás, originally sung by incarcerated gypsies held in the prisons of Andalucia. It is one of the oldest Flamenco song forms describing the singer's loss of freedom and life in jail. Careos - a type of passing step used in the fourth copla of Sevillanas. Cartageneras - toque libre song form which is Fandangos-based and takes its name from the area of Cartagena. It is one of the songs known as Cantes de Levante and is believed to have evolved from Tarantas. Cejilla - Spanish word for capo. Ceja means little eyebrow and the traditional cejilla bears a curved top (which resembles an eyebrow) to accommodate the wooden tightening peg.

Chuflas - equivalent of a shuffle, used in footwork, when the foot lifts from behind or the side and strikes the floor with a golpe while the other foot simultaneously slides along the floor. Chuflas also refers to a song and dance form which is carefree in style, somewhat similar to Tanguillos, with the emphasis on spontaneity and humor. Cierre - closing step Colombianas - song and dance form with a style which was influenced by Colombian folk music and South American rhythms. Compás - beat, rhythm, meter and measure. The basic element of Flamenco rhythm. Specifically, it is a recurring pattern of accented beats analogous to a bar of music which dictates the unique rhythmic structure of any given song form. Contestacíon - type of a desplante, literally means an answer. A section of dance executed during singer's respiro. After the singer finished the first line of a letra he/she traditionally may take a respiro (a break in singing, literarlly meaning a breath) and the dancer will use that time to answer the singer with strong visual/rhythmical progression usually involving footwork.

Contestacíon is traditionally 1 compás in length but may be 2 or more depending on dancer's preference. Contra Tiempo - syncopated or counter rhythms. Contra Tiempo can be produced by stamps of the feet, accompanied by palmas executed by an individual performer or in conjunction with others. Copla - a verse from a song. Copla is also used to describe the various sections of Sevillanas and Fandangos. Cuadro - a group of Flamenco performers which includes dancers, singers, and guitarists. Falda - skirt. Falseta - a melodic progression played by the guitarist. Fandango - Andalucian folk song and dance whose roots go back as far as the Arab invasion in 711 A.D. It is believed to have derived from the Jota, a lively paired dance from Aragon located in Northern Spain. Almost every region of Andalucia has its own version of fandangos (including the city of Huelva which claims to be the form's original birthplace and one of Spain's flamenco capitals).

There are two types of fandangos: Fandango Grande or Fandango Libre or (the jondo type which is also sung and played without compás) and Fandaguillos (regional versions that are played and sung within fandango compás). Fandango Grande - an abstract song form which evolved as a serious version of the original fandangos. It is sung without compás and may also be referred to as Fandangos Libres or Fandangos Naturales. Farruca - a spectacular dance, traditionally performed by men, in 4/4 time, which was originally a song or chant from the Northern Region of Galicia. It is generally accepted that Andalucian gypsies adopted the Farruca and then changed it to suit their own tastes. It is often considered to be one of the more modern forms of Flamenco and usually played in the key of A Minor. Although the rhythm is strong and strictly defined, some passages begin slowly and gradually build up speed, particularly in the final stages of the dance. Originally performed only by males, women have also executed the dance with great effect (albeit dressed in a man's costume).

The Farruca is never sung in the pure Flamenco idiom and, as a dance or a guitar solo, is considered to be a very drammatic piece. Flamenco - the generic term which applies to the body of music, song and dance customarily associated with Andalucian gypsies. It originated in Southern Spain and has been described as the folk art of the poor. The word may also be used to define a Flamenco performer or aficionado. It is generally believed that the roots of Flamenco evolved from a combination of Indian, Arabic and Spanish cultures, with later influences from the Gregorian musical system of the Christians and possibly even the liturgal music of the Jews. Flamenco Puro - a term which is generally applied to mean genuine or traditional Flamenco. Floreo - hand movements of dancers. Flamenco Glossary Flamenco Glossary You are here: Home / Information / Flamenco Glossary Flamenco Glossary A collection of terms used in connection with flamenco. A afillá: a type of hoarse, earthy flamenco voice alante: stage front Alegrias: a joyful dance, in comopas of 12 beats, from Cadiz.

The origin is in the jotas of Cadiz. Traditional folk music of Aragon, brought to the Andalucian region by soliders during the War of Independence in the early 19th century. The main characteristics of this style are the richness of it’s guitar accompaniment, the intricacy of the dancing, the demands of the rhythm, and it’s lively sound. Andalucia: Region from southern Spain; birthplace of Flamenco. arpegio: a chord whose notes are played in succession, not simultaneously atrás: stage rear bailaor{a}: dancer (male & female) bout: body of the guitar braceo: movement of the arms during the dance Bulerias: High-spirited song & dance from Jerez. This developed like Soleares from a simple style. However, unlike Soleares, it has a fast and lively rhythm – indeed, the fastest in all flamenco and provides enormous scope for improvisation on the part of dancers, singers and guitarists. It is wild, frenzied and lively, but nevertheless contains the germ of sorrow that is almost always present in flamenco.

C cabales: flamenco experts café cantante: coffee house with flamenco shows (originally starting with flamenco cante but eventually covering all flamenco forms) cajon: percussive instrument similar to an empty wooden box calo: language of the gypsies Caña: Caña, also very closely related to Soleares, is one of the oldest forms of flamenco, and one of the most pure and beautiful. cantaor{a}: singer (male & female) cante: song cante chico: light song, more frivolous cante jondo: deep song covering both the dark and serious aspect of Flamenco cante grande: more profound song carcelera: type of tonás sung by incarcerated gypsies Caracoles: This is one type of cantiñ which appeared in Cadiz in the mid-19th century. It became strongly associated with Madrid, although it is essentially from Andalucia, like all flamenco music. Curro Cuchares and El Tato’ who worked in the bull-rings and were also good singers took this style to Madrid where it became very popular.

Later it was recreated in a masterly way by Antonio Chacon, who gave it its present brilliance and vitality. cejilla: capo on a guitar colombianas: flamenco style influenced by S.American rhythms compás: beat, rhythm, measure, the characteristic rhythm of a form copla: verse cuadro: group of flamenco performers, including dancers singers, and guitarists D danza mora: a style influenced by the Moors of N.Africa (stands for Moorish Dance); guitar 6th string tuned to D debla: toná with religious overtones desplante: section of a dance, as in “desplante por bulerias”, performed afterthe “llamada”. May range from several steps to several compass depending on the choreography duende: the soul force that inspires flamenco art E entrada: entrance of the dancer estribillo: a flamenco phrase juerga: flamenco party or jam session jaleo: utterances of approval, encouragement.

Recognition of the duende jondo: variation of hondo most often associated with flamenco dance L letra: verse of a song llamada: “call” or “break”, dance movement signalling a change of section M malagueñas: a free form flamenco style (no specific compas, interpretive, and not danced) from Malaga. Descendent of the Fandango family. manton: embroidered silk shawl with long fringes marcando: movements of the dancer during the letra martinete: toná sung by the gypsies in a forge; refers to hammer P palillos: castanets, not used in pure flamenco palmas: rhythmic hand clapping used to accompany flamenco song and dance palmeros: men that clap while the musicians play petenera: Cante that is out of the mainstream, derived from Andalucian folklore. The folklore behind this is that the word is a corruption of “Patenera” who sang the cante and came from Paterna de la Rivera. It is considered by the superstitious to be bad luck to play.

picados: flamenco scales on the guitar pitos: finger snapping used to accompany flamenco song and dance planta: sole of the foot polo: flamenco song derived from the Soleares family punta: toe of the foot punteado: plucking technique redonda: flamenco voice rondenas: another free-form style; it uses an alternative tuning for both 3rd and 6th strings rumbas: another flamenco style influenced by New World rhythms; strumming characterized by damping the strings with the whole hand for syncopation S salida: exit of the dancer serranas: same compas as siguiriyas, but played in E instead of A so has a different mood and texture, though some of the same variations can be transposed siquiriyas/seguidillas: profound cante jondo soleá/soleares: cante jondo called the mother of flamenco song. Consists of 12 beats with accents on the 3rd, 6th, 8th, 10th, and 12th.

T tablao: club with stage for flamenco shows tacaor/tocaor: flamenco guitarist tacon: heel of the foot taconeo: footwork tango: baile chico, flamenco song & dance tanguillo: flamenco song and dance dervied from the tango tarantas: another free-form style; tarantos danced so it has a compas, and is related to the tarantos in key, etc. tientos: cante jondo, derived from tango tocaor/tacaor: flamenco guitarist tonás: basic flamenco song. The earliest known. toque: guitar playing toque compás: guitar playing with fixed patterns of rhythmic beats toque libre: guitar playing with free form rhythm tremolo: a rapid fluttering of a guitar tone or alternating tones Z zapateados: needs very fancy footwork; the compas speeds up, slows down, and speeds up again and is a showcase for dancers (zapato means shoes). Derived from the tango. Phrases Agua: Water! It’s so hot I need water! Asi se baila: That’s dancing! Asi se toca: That’s playing!

Asi se canta: That’s singing! Eso es: That’s it! Hassa: Great! jaleo: Ale, ole. Possibly from the 12th century call “hala” Possibly from the Arabic: Allah! Olé! Toma que toma: Take it! Vamos alla: Go there! Vamo’ ya!: Let’s go! Search Get whisked away to Spain Sunday at Broomfield Auditorium - Broomfield Enterprise Get whisked away to Spain Sunday at Broomfield Auditorium By Darren Thornberry For the Enterprise Posted: 10/06/2015 05:42:46 PM MDT Flamenco master René Heredia, founder of Flamenco Fantasy Theatre, will perform live Sunday at the Broomfield Auditorium when the troupe brings 'Flamenco Puro' to the stage. (Courtesy photo / Broomfield Enterprise) If you go Where: Broomfield Auditorium, 3 Community Park Road Tickets: $20 in advance, $25 at the door. Free for children younger than 12.

More info: reneheredia.com For one night only, the stage of Broomfield Auditorium will be transformed into a Spanish landscape, resonant with the music and dance of Sevilla's Roma culture. Flamenco Fantasy Theatre presents "Flamenco Puro" on at 7 p.m. Sunday. Fans of flamenco know this will be a night to remember. Founded by flamenco master René Heredia, Flamenco Fantasy Theatre is one of only a handful of dance companies left that continues to showcase traditional Andalusian flamenco. While the art form is often watered down, Flamenco Fantasy Theatre performs it with traditional costumes, palmas (hand clapping), pitos (finger snaps) and dancers with authentic costumes from the Andalusian provinces. Diane Lapierre is a lead company dancer who will be performing in all the group numbers, as well as a solo dance to the beautiful song, "Malagueñas." She assists Heredia in coordinating the dancers, costumes and rehearsals. Advertisement "We love performing at the Broomfield Auditorium," she said. "The theater is beautiful, the backstage area is well equipped for accommodating our many costume changes, and staff is both professional and pleasant.

It is one of the least challenging venues for our performances." This performance is special, as it is the first time the company will dance the "Zapateado de Las Companas" on stage in a theatrical setting. The dance conveys the sound and movement of Andalusian horses. "We have been working on this for most of the past year, and we are all thrilled to share this dance with the audience," Lapierre said. When Heredia came to Denver in 1968, there was no local flamenco music or dance scene. He brought it with him. Now the man who is often called "The Godfather of Flamenco" can enjoy the many flamenco dance companies and guitarists in the metro-Denver area. "Flamenco dance and music is a way of life," Heredia said. "I'm from Spain and have been doing flamenco for 40-plus years. It is music that reflects the emotions of the people of Andalusia — the happiness and the sadness of life itself." Flamenco Puro features four dancers (wearing riding crops and riding hats), five guitarists, one percussionist and one singer. The performance has been preceded by many rehearsals and classes.

The musical accompaniment, composed by Heredia, is performed live, and he also set the choreography for the dancers. "Flamenco never gets boring," Lapierre said. "We are always learning new dances, perfecting dances we've performing for years and learning from René about the history, culture, art and different forms of flamenco. It gives me a chance to get some great exercise, listen to a virtuoso play guitar and spend time with an amazing group of artists." One of the most compelling reasons Lapierre continues to dance flamenco is how anyone at any age, size or shape is welcome to learn and perform. She said that unlike ballet or other dance styles, flamenco is an art form that celebrates the soul of the performer. Flamenco Flamenco Flamenco dancer with traditional dress Stylistic origins Flamenco ( Spanish pronunciation: ) is an artform native to the Spanish regions of Andalusia , Extremadura and Murcia . It includes cante (singing), toque (guitar playing), baile (dance), jaleo (vocalizations), palmas (handclapping) and pitos (finger snapping).

[1] The oldest record of flamenco dates to 1774 in the book Las Cartas Marruecas by José Cadalso . [2] The genre originated in the music and dance styles of Andalusia . [3] Flamenco has been influenced by and become associated with the Romani people in Spain , however, unlike Romani music of northern Spain or Eastern Europe , its origin and style is uniquely Andalusian. [4] [5] In recent years, flamenco has become popular all over the world and is taught in many non-Hispanic countries, especially the United States and Japan. In Japan , there are more flamenco academies than there are in Spain. [6] [7] On November 16, 2010, UNESCO declared flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity . [8] Contents 8 External links Etymology There are many suggestions for the origin of the word flamenco as a musical term (summarized below) but no solid evidence for any of them. [9] The word was not recorded as a musical and dance term until the late 18th century.

The Spanish word flamenco could have been a derivative of “ fire ” or “flame”. The word flamenco may have come to be used for fiery behaviour, which could have come to be applied to the Gitano players and performers. [10] Another theory, proposed by Andalusian historian and nationalist Blas Infante in his 1933 book Orígenes de lo Flamenco y Secreto del Cante Jondo suggested that the word flamenco comes from the Hispano- Arabic term fellah mengu , meaning “expelled peasant”; Infante argued that this term referred to the Andalusians of the Islamic faith, the Moriscos , who in order to avoid religious persecution, joined with the Roma newcomers. [11] [12] Palos The Palos of Flamenco Palos (formerly known as cantes) are flamenco styles, classified by criteria such as rhythmic pattern, mode , chord progression , stanzaic form and geographic origin. There are over 50 different palos, some are sung unaccompanied while others have guitar or other accompaniment. Some forms are danced while others are not.

Some are reserved for men and others for women while some may be performed by either, though these traditional distinctions are breaking down: the Farruca, for example, once a male dance, is now commonly performed by women too. There are many ways to categories Palos but they traditionally fall into three classes: the most serious is known as cante jondo (or cante grande ), while lighter, frivolous forms are called cante chico . Forms that do not fit either category are classed as cante intermedio . [13] Cante jondo has clear traces of Arabic and Spanish folk melodies , as well as vestiges of Byzantine , Christian and Jewish religious music. [14] These are the most known palos: [15] Alegrías Villancicos Music There are many guitarists who have dedicated their professional expertise and been a part of the Flamenco scene, such as Paco de Lucía , Paco Peña , Ramon Montoya, Pepe Romero, and Pepe Martinez to name a few. They are the backbone of helping to create the ambiance to this much loved tradition of Spanish song and dance.

Structure A typical flamenco recital with voice and guitar accompaniment, comprises a series of pieces (not exactly “songs”) in different palos. Each song of a set of verses (called copla, tercio, or letras), which are punctuated by guitar interludes called falsetas . The guitarist also provides a short introduction which sets the tonality, compás and tempo of the cante. [16] In some palos, these falsetas are also played with certain structures too; for example, the typical sevillanas is played in an AAB pattern, where A and B are the same falseta with only a slight difference in the ending. [17] Harmony Flamenco uses the Flamenco mode (which can also be described as the modern Phrygian mode (modo frigio), or a harmonic version of that scale with a major 3rd degree ), in addition to the major and minor scales commonly used in modern Western music. The Phrygian mode occurs in palos such as soleá , most bulerías , siguiriyas , tangos and tientos .

Descending E Phrygian scale in flamenco music, with common alterations in parentheses A typical chord sequence , usually called the “ Andalusian cadence ” may be viewed as in a modified Phrygian: in E the sequence is Am–G–F–E. [18] According to Manolo Sanlúcar E is here the tonic , F has the harmonic function of dominant while Am and G assume the functions of subdominant and mediant respectively. [19] Guitarists tend to use only two basic inversions or “chord shapes” for the tonic chord (music) , the open 1st inversion E and the open 3rd inversion A, though they often transpose these by using a capo . Modern guitarists such as Ramón Montoya , have introduced other positions: Montoya himself started to use other chords for the tonic in the modern Dorian sections of several palos; F♯ for tarantas , B for granaínas and A♭ for the minera. Montoya also created a new palo as a solo for guitar, the rondeña in C♯ with scordatura . Later guitarists have further extended the repertoire of tonalities , chord positions and scordatura.

There are also palos in major mode; most cantiñas and alegrías , guajiras , some bulerías and tonás , and the cabales (a major type of siguiriyas ). The minor mode is restricted to the Farruca , the milongas (among cantes de ida y vuelta ), and some styles of tangos, bulerías, etc. In general traditional palos in major and minor mode are limited harmonically to two-chord (tonic–dominant) or three-chord (tonic–subdominant–dominant) progressions. (Rossy 1998:92) However modern guitarists have introduced chord substitution , transition chords, and even modulation . Fandangos and derivative palos such as malagueñas , tarantas and cartageneras are bimodal: guitar introductions are in Phrygian mode while the singing develops in major mode, modulating to Phrygian at the end of the stanza.

(Rossy 1998:92) Melody Dionisio Preciado, quoted by Sabas de Hoces [20] established the following characteristics for the melodies of flamenco singing: Microtonality : presence of intervals smaller than the semitone . Portamento : frequently, the change from one note to another is done in a smooth transition, rather than using discrete intervals. Short tessitura or range : Most traditional flamenco songs are limited to a range of a sixth (four tones and a half). The impression of vocal effort is the result of using different timbres , and variety is accomplished by the use of microtones. Use of enharmonic scale . While in equal temperament scales, enharmonics are notes with identical pitch but different spellings (e.g. A♭ and G♯); in flamenco, as in unequal temperament scales, there is a microtonal intervalic difference between enharmonic notes. Insistence on a note and its contiguous chromatic notes (also frequent in the guitar), producing a sense of urgency. Baroque ornamentation , with an expressive, rather than merely aesthetic function.

Apparent lack of regular rhythm, especially in the siguiriyas : the melodic rhythm of the sung line is different from the metric rhythm of the accompaniment. Most styles express sad and bitter feelings. Melodic improvisation : flamenco singing is not, strictly speaking, improvised, but based on a relatively small number of traditional songs, singers add variations on the spur of the moment. Musicologist Hipólito Rossy adds the following characteristics (Rossy 1997: 97): Flamenco melodies are characterized by a descending tendency, as opposed to, for example, a typical opera aria , they usually go from the higher pitches to the lower ones, and from forte to piano , as was usual in ancient Greek scales In many styles, such as soleá or siguiriya , the melody tends to proceed in contiguous degrees of the scale. Skips of a third or a fourth are rarer. However, in fandangos and fandango-derived styles, fourths and sixths can often be found, especially at the beginning of each line of verse. According to Rossy, this is proof of the more recent creation of this type of songs, influenced by Castilian jota .

Compás Compás is the Spanish word for metre or time signature (in classical music theory ). It also refers to the rhythmic cycle, or layout, of a palo. The compás is fundamental to flamenco. Compás is most often translated as rhythm but it demands far more precise interpretation than any other Western style of music. If there is no guitarist available, the compás is rendered through hand clapping (palmas) or by hitting a table with the knuckles. The guitarist uses techniques like strumming (rasgueado) or tapping the soundboard (golpe). Changes of chords emphasize the most important downbeats. Flamenco uses three basic counts or measures: Binary, Ternary and a form of a twelve-beat cycle that is unique to flamenco. There are also free-form styles including, among others, the tonás , saetas , malagueñas , tarantos, and some types of fandangos . Rhythms in 2 4 measures are not common in ethnic Roma music. 12-beat rhythms usually rendered in amalgams of 6 8 + 3 4 and sometimes 12 8.

The 12-beat cycle is the most common in flamenco, differentiated by the accentuation of the beats in different palos. The accents do not correspond to the classic concept of the downbeat. The alternating of groups of 2 and 3 beats is also common in Spanish folk dances of the 16th Century such as the zarabanda, jácara and canarios. There are three types of 12-beat rhythms, which vary in their layouts, or use of accentuations: soleá, seguiriya and bulería. peteneras and guajiras : 1 2 3 4 5 6 7 8 9 10 11 12. Both palos start with the strong accent on 12. Hence the meter is 12 1 2 3 4 5 6 7 8 9 10 11… The seguiriya , liviana, serrana , toná liviana, cabales: 121 2 3 4 5 6 7 8 9 10 11 12.

soleá , within the cantiñas group of palos which includes the alegrías , cantiñas, mirabras, romera, caracoles and soleá por bulería (also “ bulería por soleá “): 1 2 3 4 5 6 7 8 9 10 11 12. For practical reasons, when transferring flamenco guitar music to sheet music, this rhythm is written as a regular 3 4. The Bulerías is the emblematic palo of flamenco: today its 12-beat cycle is most often played with accents on the 3rd, 6th, 8th, 10th and 12th beats. The accompanying palmas are played in groups of 6 beats, giving rise to a multitude of counter-rhythms and percussive voices within the 12 beat compás.

Flamenco Bulerías with emphasis as [12] 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 – also the rhythm for the song America from the West Side Story Forms of flamenco expression Toque (guitar) Paco de Lucía , one of the most commercially successful exponents of flamenco. [21] The origins, history and importance of the flamenco guitar is covered in the main Wikipedia entry for the Flamenco guitar Cante (song) Flamenco performance by the La Primavera group The origins, history and importance of the cante is covered in the main Wikipedia entry for the cante flamenco . Baile (dance) El baile flamenco is known for its emotional intensity, proud carriage, expressive use of the arms and rhythmic stamping of the feet (often confused with tap dance or Irish dance but with a completely different technique). As with any dance form, many different styles of flamenco have developed. In the twentieth century, flamenco danced informally at gitano (Roma) celebrations in Spain was considered the most “authentic” form of flamenco.

There is less virtuoso technique in gitano flamenco, but the music and steps are fundamentally the same. The arms are noticeably different from classical flamenco, curving around the head and body rather than extending, often with a bent elbow. Flamenco, Córdoba “Flamenco puro” is considered the form of performance flamenco closest to its gitano influences. In this style, the dance is always performed solo, and is improvised rather than choreographed. Some purists frown on castanets (even though they can be seen in many early 20th century photos of flamenco dancers). “Classical flamenco” is the style most frequently performed by Spanish flamenco dance companies, tending to exhibit more clearly the characteristics derived from the Seguidilla, a traditional Spanish dance. It is danced largely in a proud and upright way. For women, the back is often held in a marked back bend. Unlike the more gitano influenced styles, there is little movement of the hips, the body is tightly held and the arms are long, like a ballet dancer. In fact many of the dancers in these companies have trained in ballet as well as flamenco.

Flamenco has both influenced and been influenced by ballet, as evidenced by the fusion of the two created by ‘La Argentinita’ in the early part of the twentieth century and later, by Joaquín Cortés. In the 1950s Jose Greco was one of the most famous male Flamenco dancers, performing on stage worldwide and on television including the Ed Sullivan Show, and reviving the art almost singlehandedly. Modern flamenco is a highly technical dance style requiring years of study. The emphasis for both male and female performers is on lightning-fast footwork performed with absolute precision. In addition, the dancer may have to dance while using props such as castanets, shawls and fans. “ Flamenco nuevo ” is a recent style in flamenco, characterized by pared-down costumes (the men often dance bare-chested, and the women in plain jersey dresses). Props such as castanets, fans and shawls are rarely used. Dances are choreographed and include influences from other dance styles. The flamenco most foreigners are familiar with is a style that was developed as a spectacle for tourists. To add variety, group dances are included and even solos are more likely to be choreographed.

The frilly, voluminous spotted dresses are derived from a style of dress worn for the Sevillanas at the annual Feria in Seville . In traditional flamenco, young people are not considered to have the emotional maturity to adequately convey the duende (soul) of the genre. Therefore, unlike other dance forms, where dancers turn professional early to take advantage of youth and strength, many flamenco dancers do not hit their peak until their thirties and will continue to perform into their fifties and beyond. “Revista de Folklore” . funjdiaz.net. Retrieved 2014-02-10. ^ Koster, Dennis (1 June 2002). Guitar Atlas, Flamenco . Alfred Music Publishing. p. 5. ISBN 978-0-7390-2478-2 [ Amazon-US | Amazon-UK ]. Retrieved 4 March 2013. Sources Álvarez Caballero, Ángel: El cante flamenco, Alianza Editorial, Madrid, Second edition, 1998.

ISBN 84-206-9682-X [ Amazon-US | Amazon-UK ] (First edition: 1994) Álvarez Caballero, Ángel: La Discografía ideal del cante flamenco, Planeta, Barcelona, 1995. ISBN 84-08-01602-4 [ Amazon-US | Amazon-UK ] Banzi, Julia Lynn (Ph.D.): “Flamenco Guitar Innovation and the Circumscription of Tradition” 2007, 382 pages; AAT 328581, DAI-A 68/10, University of California, Santa Barbara. Coelho, Víctor Anand (Editor): “Flamenco Guitar: History, Style, and Context”, in The Cambridge Companion to the Guitar , Cambridge University Press, 2003, pp. 13–32.

Mairena, Antonio & Molina, Ricardo: Mundo y formas del cante flamenco, Librería Al-Ándalus, Third Edition, 1979 (First Edition: Revista de Occidente, 1963) Martín Salazar, Jorge: Los cantes flamencos, Diputación Provincial de Granada, Granada, 1991 ISBN 84-7807-041-9 [ Amazon-US | Amazon-UK ] Manuel, Peter. “Flamenco in Focus: An Analysis of a Performance of Soleares.” In Analytical Studies in World Music, edited by Michael Tenzer. New York: Oxford University Press, 2006, pp. 92–119. Ortiz Nuevo, José Luis: Alegato contra la pureza, Libros PM, Barcelona, 1996. ISBN 84-88944-07-1 [ Amazon-US | Amazon-UK ] Ríos Ruiz, Manuel.

Ayer y hoy del cante flamenco, Ediciones Istmo, Tres Cantos (Madrid), 1997, ISBN 84-7090-311-X [ Amazon-US | Amazon-UK ] Rossy, Hipólito: Teoría del Cante Jondo, Cresda, Barcelona, 1998. ISBN 84-7056-354-8 [ Amazon-US | Amazon-UK ] (First edition: 1966) Caba Landa, Pedro y Caba Landa, Carlos. Andalucía, su comunismo y su cante jondo. 1ª Ed Editorial Atlántico 1933. 3ª Edición, Editorial Renacimiento 2008. ISBN 978-84-8472-348-6 [ Amazon-US | Amazon-UK ] External links

Question: What Spanish music form often features palmas (clapping) and pitos (finger snapping)?
Answer: Flamenco