Flamenco Terms

ALEGRIAS:   A joyful dance and the best known flamenco style from the cantinas group, which has a rhythm consisting of 12 beats. This cante originates from Cadiz, its rhythmic structure matching that of the soleá, with verses divided into four lines of eight syllables each. Dance techniques associated with Alegrías are the most rich and vivacious to be seen. Traditionally considered a female dance piece, it incorporates undulating movements of the body and graceful movements of the arms during the silencio, or the sequence of music in a minor key. It also includes the intricate footwork during the so-called escobilla, or footwork solo. A traditional dance in alegrías must contain each of the following sections: a salida (entrance), paseo (walkaround), silencio (similar to an adagio in ballet), castellana (upbeat section) zapateado (Literally "a tap of the foot") and bulerías. Brightly colored, extroverted clothing such as the traditional long “bata de cola” dress or the manila silk shawl characterize this dance form.Alegrías, and in fact the whole cantinas group was heavily influenced by the style Pastora Imperio laid down, forever leaving her mark on those that followed her in the Seville school of dance. Compás Pattern: 1 2 3 4 5 6 7 8 9 10 11 12 Artists known for this style: Matilde Coral Milagros Menjíbar Pepa Montes Belen Maya Rafael Campallo

AYEO: Ayeo is a section of the cante introduction that assists the cantaor to find the key to the cante. It is a prolonged wordless weeping made by the cantaor which alludes to a tragic, grieved, dramatic nature. Technically provides the cantaor with a means of “warming up” prior to singing as well.

BAILE: Baile is the corporal expression of Flamenco (the dance). It is a sequence of steps, and various movements of palms, hands, arms, head and whole body. El baile, is perhaps, due to its esthetics, the banner of Flamenco worldwide.

BULERIAS: Bulerias is a flamenco style which stems from the soleá. Although it shares the same rhythmical structure, it lends itself to a more up-tempo performance, often providing something of a finale. The Buleria has many variations in terms of both melody and meter, and is normally accompanied by palmas or handclaps on the off beats and a turn by the bailaor. Jerez de la Frontera is the true home of the Buleria, although there are also contributions have been made from other cities and towns in Spain. The Buleria has made the break away from private family functions to the stage, where its been used as a coda to the soleá, as a climactic closing number, or frequently as an encore. This is a palo where the whole company joins in, gathering around to form a corillo, as they egg on, not only the dancers, but also the tentative footwork of the musicians. Compás Pattern: 1 2 3 4 5 6 7 8 9 10 11 12 Artists known for this style: El Gloria El Loco Mateo La Niña de los Peines Manuel Vallejo Parrilla de Jerez

CANTE: Cante is the oral expression, or singing, or flamenco feelings. It is the basic and most primal element of flamenco, older than the guitar and the dancing. Cante is not so much song, as it is weeping coming from the soul, from what is truly an expression of the human condition existing within the Andalusian people.

CAÑA / POLO: The caña is a highly structured flamenco style played to the compás rhythm of a soleá. It is said that caña is a pre-flamenco traditional Andalusian style, as well as a popular Spanish folk dance which can be traced back to the 18th century. One defining feature that differentiates it from soleá, is its introduction of repeated cries of “ay” mimicked by the guitar playing along in harmony, all to a very strict structure. Polo differs in the introduction itself, and has somewhat a less dynamic air. The modern-day caña flamenca is associated with dance, specifically with the work of Antonio de Juana Porrote and Carmen Amaya. Compás Pattern: 1 2 3 4 5 6 7 8 9 10 11 12 (caña)     1 2 3 4 5 6 7 8 9 10 11 12 (polo) Artists known for this Style: Tio Luis el de la Juliana El Planeta El Fillo Antonio de Juana Porrote Carmen Amaya Enrique Morente

COMPÁS: Compás is the rhythm each flamenco style contains. It is the measure of the musical phrase, considering the stress corresponding to the given flamenco style and bearing in mind the guitar accompaniment. It equals structure on a musical level. There are different compás, that of twelve beats, or three sets of four, used in palos such as soleá, Buleria, and Alegrías, or that of four beats, found in such palos as Tientos, and tangos, or in combinations such as siguiriya or the martinete.

COPLA:    The copla is prose, to which music is added, in order to give lyrics to cante flamenco (verse). Also defined as the traditional

DESPLANTE: Desplante, is a section of a dance used as a means of rounding off a series of escobillas, or footwork, whereby a display of aggression, arrogance or acrimony are played out. It is the break in the dance that begins with a pre-arranged step, to signify to the guitarist that the dancer’s improvisional sequence will follow. May range from several steps to several compass depending on the choreography.

ESCOBILLA: Escobilla is the bailaor’s footwork solo (male dancer), generally in palos such as soleá and Alegrías. Can also be defined as the falseta in guitar that is used to accompany the bailaor during Alegrías or soleá.

FALSETA:   A melodic performance on solo guitar feeding the gaps between rhythmic and cante stages. Also defined as a phase or flourish in which the tocaor (guitarist) performs, normally plucking during songs or before cante, thus giving free rein to any personal inspirations. It also serves as a period of improvisation

FANDANGOS: A style of flamenco dance that has its roots deep in folkloric Spanish Tradition, and also proceeds cante flamenco as we know it. According to some critics, this is the truest form of flamenco. Whether Arabian, American or Portuguese, its origins are still speculated. Identifiable by a 12 count compás, and is straight 3/4 time. Spanish fandangos gradually acquired a stronger flamenco edge by drawing on the contributions by individual cantaores. Compás Pattern: 1 2 3 4 5 6 7 8 9 10 11 12 Artists known for this style: Nino Gloria Manuel Torre Jose Cepero Manolo Carocol Manuel Vallejo Pepe Marchena Pepe Pinto Fernanda de Utrera Chocolate

GRANAINA / MEDIA GRANAINA: A Flamenco style which originates in Eastern Andalusia, belonging to the Fandangos group, and with their origins in the Granada variant. One distinguishing element of Granaína is that it is performed without a rhythmical framework, so its hallmarks lie in the melodical work and the guitar chords. It differs from the media granaína in the melody and in the mood; the granaína is more restrained and the media granaína is bolder, more baroque, and carries no cries of “ay” in the introduction. Compás Pattern: 1 2 3 4 5 6 7 8 9 10 11 12 Artists known for this style: Manuel Vallejo Juan Mojama Manuel Centeno Pepe Marchena Eva Yerbabuena

LETRA: The lyrics of the verse of a song, sung by the cantaor or cantaora.

MALAGUENA: A flamenco style with its roots I the local fandango of Malaga. This style, one of the most outstanding Levantine forms is characterized by the absence of a compás structure, affording the cantaor freedom to introduce intricate vocal work and extend each line of the lyric at will. Compás Pattern: 1 2 3 4 5 6 7 8 9 10 11 12 Artists known for this style: Enrique el Mellizo Antonio Chacon Juan Breva El Canario La Trini Diego Clavel José Mercé Enrique Morente Rafaela Carrasco

MARCAJE (MARKING): Characteristic of a baile, for being performed essentially by a bailaora or bailaor, during cante. It is a key moment in baile when the dancers choreograph body movements and arm movements to the rhythm and accents of the letra, during cante.

OLE: The highest compliment in Flamenco, given by everyone or anyone who is participating in flamenco. When used to express depth of feeling or enthusiasm, it is the most primitive form of communication between one who listens and the one who sings, between someone who watches and the one who dances, between one who provides the perpetual hand clapping and the one who plays guitar, between one who is being thrilled and the one who thrills. Olé is a cry of encouragement which is pure emotion.

PALOS: Palos are the different rhythmical forms which make up flamenco. There are four palos within the toques in rhythm which are Soleares, Bulerías, Sequiriyas and Tientos. There are other basic forms which drive from them due to their same rhythmic or emotional nature. Palos are the different styles which exist in Flamenco.

POLO / CAÑA see Caña

QUEJIO: A way of singing, pronouncing a deep, prolonged “ay” which is included in song, adding intensity and character to cante. Dramatic, deep and distant, the “ay” mimics a cry of pain and expresses the truest essence of flamenco: inside grief communicated in vocal form.

SEGUIRIYAS: A flamenco form with a mixed compás, combining 3/4 and 6/8 time (a feature that drives music experts to despair). The Seguiriya takes its name from the Castillan “seguidilla”, a musical style to which it is related, literally at least. It is considered the quintessential style of “cante jondo”, for its solemnity, the minimalism of the lyric, and the wailing “quejio” associated with vocal performances. Seville and Cadiz re the homelands of this palo; Triana, Jerez and Los Puertos are also Seguiriya landmarks. Closely related to the seguiriya, we find the cabal, a more light-hearted tune which rounds off a series of seguiriyas and is sung with a different harmony (shifted to a major key). From the same family and with an identical compás structure, we find the martinete (a style which originated in the forges sung by the smiths), the Debla (based on the framework laid down by Tomás Pavón), Tonas, (with their roots in romances, and each christened with a theme drawn from lyrical traits). Lastly, there are the Carceleras (jail songs), the difference here being that they are sung “a capella” with no musical accompaniment. Also related to the Seguiriya we have the liviana and the serrana, originally with a pastoral theme. These cantes were folk songs which gradually acquired a flamenco flavor, and which have a fixed melody, the lyrics sung in low, drawn out lines. Dancing to seguiriya, as with singing, is an intimate, low-key solemn, austere matter and this constitutes one of the essential styles in the repertoire of professional bailaors. Compás Pattern: 1 2 3 4 5 6 7 8 9 10 11 12 Artists known for this style: Manuel Molina Paco la Luz El Loco Mateo El Fillo Curro Durce El Marrurro Enrique el Millizo Silverio Franconetti Antonio Chacon Manuela Carrasco María del mar Morena Antonio Canales

SOLEA: A flamenco form considered the mother of all flamenco. Its structure, with a 12-count compás, follows a blend of 6/8 and 3/4 time signatures, using an Andalusian cadence– the Phrygian mode unique to flamenco. Fruit of this basic model include Bulerías, Bulerías por soleá, Alegrías, all of the cantinas, jaleos, the caña, the polo. Hence it’s well deserved status as an essential style of flamenco cante. Academics highlight the abundant richness of the lyrics, its diversity, its fertility, over and above all other flamenco styles. As for its origins, Machado Alvarez argues that it evolved from the music used to accompany a dance style called jaleo, which it broke away from in the mid-19th century. As for its name, musicologist Garcia Matos postulates that is may have been taken from one of the earl lyrics of these songs, referring to “la Soledad” (loneliness). Compás Pattern: 1 2 3 4 5 6 7 8 9 10 11 12 / 1 2 3 4 5 6 7 8 9 10 11 12 Artists known for this style: Joaquin el de a Paula El Mellizo La Cuenca La Mejorana El Gúito Manuela Carrasco Eva Yerbabuena

TANGOS: A flamenco style in 2/4and 4/4 time– the time signature that underlies the majority of musical styles around the world. As for flamenco tangos, some academics affirm that they originate from Cuba. This would imply that the flamenco style originated in Cadiz-thanks to those cross-cultural “ida y vuelta” exchanges with the Caribbean Isle, the music made the round trip, along with styles like rumbas, guajiras and colombianas. A sensual dance style, with popular origins, made great by flamenco figures from the Seville School. On many occasions, vocalist and dancer are one and the same. It is not unusual to see cantaoras (female singers) embellishing their own vocal performances of tangos with a few steps between verses. Compás Pattern: 1 2 3 4 / 1 2 3 4 / 1 2 3 4 / 1 2 3 4 Artists known for this style: Frijones Titi de Triana La Niña de los Peines Remedios Amaya Esperanza Fernandez Aurora Vargas La Macanita

TERCIO: Was originally the name for each of the lines which went to make up a three line (verse) of a soleá; each one of these lines was, then, a tercio, (a third). Later, the term extended to all types of cante, referring to any line of a song which differed in its lyrical qualities from another line.

TIENTOS: Tientos are slowed-down tangos, with a more solemn feel to them, which appeared between the end of the 19th century and the beginning of the 20th. Normally, the cantaor kicks off with Tientos, a style that gives him an opportunity to demonstrate his vocal prowess, and winds up “por tangos”, providing a striking contrast. Compás Pattern: 1 2 3 4 / 1 2 3 4 / 1 2 3 4 / 1 2 3 4 Artists known for this style: Enrique el Mellizo Antonio Chacón Pepe de la Matrona Bernardo el de los Lobitos La Niña de los Peines José Menese Esperenza Fernandez

TOQUE: El toque is the art of the flamenco guitar. Originates as the accompaniment to cante and dancing, providing harmonic richness.

ZAMBOMBA: A Christmas party in which flamenco Christmas carols are sung. Originates in the Andalusian area of Spain, named after an instrument called the zambomba, which marks the beat during these songs.

 

 

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