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Wiki

Flamenco Palos

Palos del flamenco

Se conoce como "Palo", cada una de las variedades tradicionales del cante flamenco".

Este se le podría comparar a un árbol cuyo tronco se llamarían las matriciales, y las ramas las modalidades, según territorio, ciudades, pueblos, barrios y etnias.

  • Alboreá

    "Alboreá" belongs to the "solea" group and the metrical style of 12 tempos. This is a singing for the gipsy weddings. For the gipsy "cantaores" it is a singing that we have to keep back for weddings and we should not sing out of this occasion. The rhythm and the guitar accompaniement are identical to the "soleá". The lyrics usually consist of hexasyllables. It belongs to the group of the singings influenced by the "soleá".
  • Alboreá

    "Alboreá" belongs to the "solea" group and the metrical style of 12 tempos. This is a singing for the gipsy weddings. For the gipsy "cantaores" it is a singing that we have to keep back for weddings and we should not sing out of this occasion. The rhythm and the guitar accompaniement are identical to the "soleá". The lyrics usually consist of hexasyllables. It belongs to the group of the singings influenced by the "soleá".
  • Alegrías

    The "alegrias" are festive singings belonging to the Cadiz singings group (called Cantiñas). Its "copla" or verse usually contain four verses octosyllables. Its melody incites to the dance.
    Its rhythm is determined by the "compas" metre of the "soleá", but its is different from the "soleá" regarding its tempo, much faster. It is a light style, happy and sensual, with a clear dancing rhythm.
  • Alegrías

    The "alegrias" are festive singings belonging to the Cadiz singings group (called Cantiñas). Its "copla" or verse usually contain four verses octosyllables.
  • Bambera/Bambas

    Bambera/Bambas, they belong to the solea group and with metrical system of 12 times. Sung according to the bamboleo rhythm. Regularly each "copla" if the choir is answered by another of the "columpio"; for this kind of song the lovers improvise expressive songs talking about complaints, jealousy, disdain. They express gallantry, tenderness, bitterness, snubs or relief full of passion.
    The bamba counts four octosyllable verses, the first one and the third one could be heptasyllable and the second one and the fouth pentasyllables. Generally we repeat the two first ones at the en of teh "copla", or it forms a "quintilla" repeating only the second one.
  • Bambera/Bambas

    Bambera/Bambas, they belong to the solea group and with metrical system of 12 times. Sung according to the bamboleo rhythm. Regularly each "copla" if the choir is answered by another of the "columpio"; for this kind of song the lovers improvise expressive songs talking about complaints, jealousy, disdain. They express gallantry, tenderness, bitterness, snubs or relief full of passion.
    The bamba counts four octosyllable verses, the first one and the third one could be heptasyllable and the second one and the fouth pentasyllables. Generally we repeat the two first ones at the en of teh "copla", or it forms a "quintilla" repeating only the second one.
  • Bulerias

    "Bulerias", it belongs to the gypsy singing branch and it is included in the "soleares" family.
  • Bulerias

    Bulerias, they belong to the dancing songs, to the solea group and to the metrical style of 12 measures.
  • Cabales

    Cabales, they belong to the fundamental songs, to the solea group and its measure style is 12 times. This song called "cabales" is a changed "seguiriya". Fillo called it like that.
  • Cabales

    Cabales, they belong to the seguirya group, 12 times metrical system. The song known as "cabales" is the same thing than the "seguirya". Its denomination is attributed to Fillo.
  • Cabales

    Cabales, they belong to the seguirya group, 12 times metrical system. The song known as "cabales" is the same thing than the "seguirya". Its denomination is attributed to Fillo.
  • Cante de Trilla

    Cante de Trilla, it belongs to the country styles. Surpsising melodic similarity with the lullaby. It is not an exculsive Andalusian song.
    In Castilla you can find genuine Cantes de Trilla. The rhythm of the cante de trilla is supported by the accompaniement of the high-pitched and clear bells pined on the tacks and of the voices of the "arrieros" (person in charge of the beasts. Their voices encourage and stimulate the worl of the beasts.
  • Caracoles

    Caracoles, they belong to tha dancing songs, to the solea group and to the metric style of 12 measures. The current Caracoles are coming from an old Cantiña called "La Caracolera", Cantiña from Cadiz that you can dance.
  • Caracoles

    Caracoles, they belong to the solea group, metrical system of 12 times. It seems that the current Caracoles are coming from an old Cantiña called "La Caracolera", a cantiña from Cadiz that we can dance. The cantaores mixed it with other cantiñas.
  • Caracoles

    Caracoles, they belong to the solea group, metrical system of 12 times. It seems that the current Caracoles are coming from an old Cantiña called "La Caracolera", a cantiña from Cadiz that we can dance. The cantaores mixed it with other cantiñas.
  • Carceleras

    Carceleras, they belong to the free styles group. A flamenco "palo". Generally it is a song "copla" with four octosyllable verses. As the Martinete, we consider its form like the "toná" but with lyrics talking about prison or convicted persons. Group of the tonás. Performed without guitar ("a palo seco").
  • Cartagenera

    Cartagenera, it belongs to the East songs, flamenco styles of the eastern provinces, Almeria and Murcia, songs of the mine and free metric system. Born in Taranta, with some inflections of the "malagueña", the "cartagenera" is between these both folk songs. Generally made up of four octosyllable verses.
  • Cartageneras

    Cartagenera, it belongs to the East songs, flamenco styles of the eastern provinces, Almeria and Murcia, songs of the mine and free metric system. Born in Taranta, with some inflections of the "malagueña", the "cartagenera" is between these both folk songs. Generally made up of four octosyllable verses.
    Tarantas, they belong to the East songs, flamenco styles of the eastern provinces, Almeria and Murcia, songs of teh mine and following a free metric system. The main eastern style is, witout any doubt, the "taranta". Long, rough and manly song, with the only influence of the fandango. The taranta is the usual miner song. Born in the most inhospitable miner basin, the taranta reflects in its tortured verses the superhuman effort, the terrible tiredness of the first country persons.
    Very romantic song, very expressive. The guitar is used like the tone and rhythm support.
  • Colombiana/Colombinas

    Colombinas/Colombianas, they belong to the Latin American branch, to the tangos group and their measure is binary. Flamenco song belonging to the group of "Cantes de ida y vuelta".
  • Colombinas/Colombianas

    Colombinas/Colombianas, they belong to the Latin American branch, to the tangos group and their measure is binary. Flamenco song belonging to the group of "Cantes de ida y vuelta".
  • Debla

    Debla, it belongs to the songs without guitar, to the group of free styles, Debla, in the "calé" dialect, means "goddess". Like that the gypsies, when they gave that name to this old form to sing, wanted to proclaim it like the goddess of all the flamenco styles. In relation with the martinete and the carcelera. The debla is full of "melismas", more devastated and hurt that the martinete.
  • Debla

    Debla, it belongs to the songs without guitar, to the group of free styles, Debla, in the "calé" dialect, means "goddess". Like that the gypsies, when they gave that name to this old form to sing, wanted to proclaim it like the goddess of all the flamenco styles. In relation with the martinete and the carcelera. The debla is full of "melismas", more devastated and hurt that the martinete.
  • El Polo

    The "Polo", it belongs to the fundamental songs, to the solea group and metric style of 12 measures. Very old flamenco song, close to the Caña. The roots of the Polo go back to the most ancient origins of the Andalusian song. To find their roots we have to go back to the centuries full of sung romances and "cantiñas" to dance.
    As a musical form we play it with a 3 x 4 or 6 x 8 compas. Normally performed with maracas, but they are no rules for the instruments. We can adapt this musical form to small or big groups.
    The melody evolves on a variation of four tones, of which repetition evokes the waves of the sea, apparently the same but always different and new, and they sing verses varying depending on the song.
    Also known as "Polo Margariteño", because of its inflow in the Margarita island, one of the "jondo" Andalusian songs that we are loosing. It is quite difficult to set its genealogy. It is very rare today to find "cantaores" knowing this style. Some of the best singers of this style are El Fillo, El Nitri, Curro Dulce.
  • Fandango

    Fandangos, this folk song belongs to the Andalusidan folk song branch and to the Fandangos family, songs to dance. The fandango is a traditional tune that you can dance to, performed by a couple, and with bright movements. With a ternary time, octosyllable lines and we usually play castanets to mark times, related to the "jota".
    From the beginning of XIX. Century, the flamenco was inspired by the Andalusian fandangos and this is how the "aflamencados fandangos" arrived. Today we consider them as ones of the fundamental flamenco "palos".
  • Fandango de Huelva

    Fandango de Huelva, belongs to the ternary metrical system group. Among those styles the most transcendental are those from Lucena and Huelva. The ones from Huelva are naive and mischievous songs, following the construction of the classical fandango regarding its structure. But its melody is original and very personnal.
  • Fandango malagueño

    "Fandango malagueño", from Malaga, belongs to the ternary metrical system group. In Malaga we call them Verdiales, posibly the native form of this artistical sign; in the other Andalusian provinces, like Almeria, we know them under Fandaguillo. In La Alpujarra the fandango is the typical dance of the Toro.
  • Fandangos

    Fandangos, this folk song belongs to the Andalusidan folk song branch and to the Fandangos family, songs to dance. The fandango is a traditional tune that you can dance to, performed by a couple, and with bright movements. With a ternary time, octosyllable lines and we usually play castanets to mark times, related to the "jota".
    From the beginning of XIX. Century, the flamenco was inspired by the Andalusian fandangos and this is how the "aflamencados fandangos" arrived. Today we consider them as ones of the fundamental flamenco "palos".
  • Fandangos de Huelva

    Fandangos from Huelva, they belong toe the Andalusian folk songs group and to the Fandangos family, songs that you can dance to, with ternary measure. The Fandango is one of the most famous song of the floklore from the South. Among its styles, the most far-reaching are those from Lucena and those from Hueva. These are folk songs between naive and mischievous, following the construction of the classical fandango regarding its structure, but its melody is original and personal.
  • Fandangos Grandes

    "Fandangos Grandes" (big fandangos), they belong to the Andalusian folk songs group and to the Fandangos family, songs that you can dance to.
  • Garrotín

    Garrotin, it belongs to the folkloric branch, to the tangos group and has a bunary measure.
    Non Andalusian folkloric origin, coming from the "Asturiano" folklor. Probably coming from teh Catalonian gypsies, as it came from the tango "compás": The song is accompanied by a dance and its peak period was at the begining of the XX. Century.
    Its verses contain four octosyllable lines. THe second one and the fourth one rhyme amd we repeat a refrain between them.
  • Granadinas/Granainas

    Granadinas/Granainas, they belong to the Andalusian songs group, styles from Malaga, and to the group of "libres" or free styles. The medium "granaina", should be from Granada if we trust its name, but they come from the old fandango (verdial) originated in Ronda and Malaga and then they arrived to Granada. Therefore we include the medium "granaina" among the styles from Malaga. Song with a clear melodic line. The flourish of the voice is the bridge to the tone changes.
  • Granainas

    Granadinas/Granainas, they belong to the Andalusian songs group, styles from Malaga, and to the group of "libres" or free styles. The medium "granaina", should be from Granada if we trust its name, but they come from the old fandango (verdial) originated in Ronda and Malaga and then they arrived to Granada. Therefore we include the medium "granaina" among the styles from Malaga. Song with a clear melodic line. The flourish of the voice is the bridge to the tone changes.
  • La Caña

    "La Caña" belongs to the gypsy singing branch and is included in the "soleares/solea" family. It is a matrix singing, with a metric style of 12 times. La Caña can be considerated as a matrix singing trasncendent for the flamenco. Its melodic influence is unquestionable, not only in a lot if minor singings but also in ancient styles, frequently considered as original. Some prestigious opinions date the "soleas" and also the "siguiriya" before the "cañas". The "caña" use and cover all the registers of voice. It is very hard and difficult to sing and needs precision. You also have to express it with purity, having perfect knowledge of the style but also outstanding vocal faculties.

  • La Caña

    La Caña, it belongs to the fundamental song, considered as the most transcendent fundamental song of the flamenco. Its melodic influence is unquestionable, not only in minor songs but also in some old styles frequently accepted like "original".
    Some prestigious opinions locate the "soleas" and the "siguiriya" previously to the "cañas". But we think that the solea is subsequent.
    It is very difficult to sing "cañas" and the singer has be a deep "cantaor". He needs to have a perfect style knowledge but also exceptional vocal abilities.
  • Levantica

    Levantica, it belongs to the miner songs, free metric system, Miner Songs, one of the less known song coming from the Murciana, the Taranto and the Minera. As the Cartagenera, coming from a folkloric fandango is also known as the Madrugá song, coming from the primitive Taranta usually sung in Almeria, Linares and La Union.
  • Malagueñas

    Malagueñas, they belong to the Andalusian folk songs branch, styles from Malaga, they belong to the free styles group.
  • Medium Granadinas

    The medium "granaina", should be from Granada if we trust its name, but they come from the old fandango (verdial) originated in Ronda and Malaga and then they arrived to Granada. Therefore we include the medium "granaina" among the styles from Malaga. Song with a clear melodic line. The flourish of the voice is the bridge to the tone changes.
  • Mirabras

    Mirabras, they belong to the dancig songs, to the solea group and to the metrical style of 12 measures.
  • Romera

    Romera, it belongs to the solea group, metrical system of 12 times. Flamenco song belonging to the Cantiñas de Cadiz group.  Romero el "Tito", popular "cantaor" of the XIX. Century coming from Andalusia. He created a dancing style starting from an old Cantiña. He gave it his own name: Romera.
  • Romera

    Romera, it belongs to the solea group, metrical system of 12 times. Flamenco song belonging to the Cantiñas de Cadiz group.  Romero el "Tito", popular "cantaor" of the XIX. Century coming from Andalusia. He created a dancing style starting from an old Cantiña. He gave it his own name: Romera.
  • Romeras

    Romeras, they belong to the dancing songs, to the solea group and the metric style of 12 measures. Flamenco song of the Cantiñas de Cadiz group. Romero el "Tito", popular inger from XIX. century created this style on an old Cantiña. He gave it his name and it became "Romera".
  • Rondeñas

    Rondeñas, they belong to the Andalusian songs branch, styles from Malaga, they belong to the free styles. A "palo" originated in Ronda, a city of Malaga. As all the other flamenco "palos" comiing from Malaga, the "rondeña" is prior to the flamenco itself.
    It is a copla made of four octosyllable lines, generally with a consonant rhyme. They normally turn into five by repetition of the second one, but also without repetition. It is a composition without "compas", of which lyrics are identified with the rural life. During the last years they evolved, they are less overelaborated with "melismas" and they are slower at the beginning.
  • Rondeñas

    Rondeñas, they belong to the Andalusian songs branch, styles from Malaga, they belong to the free styles. A "palo" originated in Ronda, a city of Malaga. As all the other flamenco "palos" comiing from Malaga, the "rondeña" is prior to the flamenco itself.
    It is a copla made of four octosyllable lines, generally with a consonant rhyme. They normally turn into five by repetition of the second one, but also without repetition. It is a composition without "compas", of which lyrics are identified with the rural life. During the last years they evolved, they are less overelaborated with "melismas" and they are slower at the beginning.
  • Rumba

    Rumbas, they belong to the Latin American branch, to the tangos group and the measure is binary. "Aflamencado" songs belonging to the songs of "Ida y Vuelta". A musical rhythm like a dance style coming from Africa, through the slave trade to Cuba. The rumba arrived in Spain with the flamenca rumba and the Catalonian rumba. Connected to the "guaracha" more than with the Cuban rumba.
  • Rumbas

    Rumbas, they belong to the Latin American branch, to the tangos group and the measure is binary. "Aflamencado" songs belonging to the songs of "Ida y Vuelta". A musical rhythm like a dance style coming from Africa, through the slave trade to Cuba. The rumba arrived in Spain with the flamenca rumba and the Catalonian rumba. Connected to the "guaracha" more than with the Cuban rumba.
  • Saeta

    The "saeta" belongs to the songs without guitar, to the free styles group. It is a religious song, generally improvised and without any accompaniment, performed during the processions of the Holy Week (Easter) and with its origin in the Andalusian folklor. The text is made up various octosyllable verses and always had a religious meaning refering to actions and persons from the Passion. We sing in hounour of holy chracters.
    The original "saeta" from Arcos de la Frontera, was accompanied by rudimentary wind instruments, generally manufactured by the own singer. A flat song..
  • Seguirya

    "Seguirya", it belongs to the gypsy singing branch and it is included in the "seguirya" family, a foundation singing, metric style of 12 times. At the beginning we called that style "playera". It is a flamenco "palo", tragic song, deep, dark and devastating, interpreted slowly. On of the most importants flamenco "palos". The lyrics of its "coplas" are tragic and reflect the pain in the human relationships, love and death. Composed by four verses, six syllables in the first, second and fourth, and eleven in the third. The second and the fourth rhyme in consonant or assonant. The structure is not strict, the most important element is the feeling not the shape and you can find Seguiriyas with another metric (7-7-11-7 and 8-5-11-6). Another shape can be 6-11-6, the first and the third rhyme and we repeat the second one.


     

  • Seguirya

    Seguirya, it belongs to the fundamental songs, to the seguiriya group and to the metric style of 12 measures.
  • Serranas

    "Seguirya", it belongs to the gypsy singing branch and it is included in the "seguirya" family, metric style of 12 times. The "Serrana" is a rural singing existing everywhere in Andalusia. It always lived in the vineyards of Jerez. After a time the "serrana" crossed the country and arrived in the cities.

  • Sevillanas

    Sevillanas, they belong to the folkloric branch, songs to dance, they belong to the group of ternary measures. The Sevillana is the typical song and dance played during the different "ferias" that we celebrate all accross the Andalusian region, above all during the procession of "El Rocio", in the village of Almonteña de Huelva, or during the April Feria in Sevilla or the Andalusian ferias.  They also are popular in the different processions and in the old times the Sevillanas were also present in the "Corralas" of neighbours and patios.
    Its origin could be in the previous years to the Catholics Kings period. We have found some compositions under the name "Seguidillas castllanas". Then with the passage of time they become more "flamenco" and we begin to dance in the XVIII. Century until we get the songs and dances that we know today. The sevillanas are included in the flamenco "palos".
    The Sevillanas appeared during the Feria of Sevilla in its first celebration, but we legally admitted them under that name in 1884. During this year the "Real Academia Española de la lengua" included that world in the dictionnary.
    This is the most popular dance of Spain, you have some fast ones and other slow one.
    We usually dance sevillanas in couple, but they are some exceptions and sometimes you can see a group (more tham 2 persons) dancing the four "coplas" of the sevillanas. Before they were seven "coplas" to compose a complete sevillana. We can differentiate four movements in this dance: paseíllos, pasadas, careos and remate. At the end of the last "copla" music and dance match up. It ia a romantic and provocative stance of defiance.
    With a compas of 3 x 4, three times. The first one is strong and the two thers are weak.
    The first sounds are performed by "rasgueo" until the singer or the guitarist introduce the song.
    The guitar is usually accompanied by "palmas" to accompany the singer or the group.
  • Sevillanas

    Sevillanas, they belong to the folkloric branch, songs to dance, they belong to the group of ternary measures. The Sevillana is the typical song and dance played during the different "ferias" that we celebrate all accross the Andalusian region, above all during the procession of "El Rocio", in the village of Almonteña de Huelva, or during the April Feria in Sevilla or the Andalusian ferias.  They also are popular in the different processions and in the old times the Sevillanas were also present in the "Corralas" of neighbours and patios.
    Its origin could be in the previous years to the Catholics Kings period. We have found some compositions under the name "Seguidillas castllanas". Then with the passage of time they become more "flamenco" and we begin to dance in the XVIII. Century until we get the songs and dances that we know today. The sevillanas are included in the flamenco "palos".
    The Sevillanas appeared during the Feria of Sevilla in its first celebration, but we legally admitted them under that name in 1884. During this year the "Real Academia Española de la lengua" included that world in the dictionnary.
    This is the most popular dance of Spain, you have some fast ones and other slow one.
    We usually dance sevillanas in couple, but they are some exceptions and sometimes you can see a group (more tham 2 persons) dancing the four "coplas" of the sevillanas. Before they were seven "coplas" to compose a complete sevillana. We can differentiate four movements in this dance: paseíllos, pasadas, careos and remate. At the end of the last "copla" music and dance match up. It ia a romantic and provocative stance of defiance.
    With a compas of 3 x 4, three times. The first one is strong and the two thers are weak.
    The first sounds are performed by "rasgueo" until the singer or the guitarist introduce the song.
    The guitar is usually accompanied by "palmas" to accompany the singer or the group.
  • Soleares

    "Soleares", it belongs to the gypsy singing branch and it is included in the "soleares" family, it is a foundation singing.
    "Alegrias", it belongs to the gypsy singing branch and it is included in the "soleares/solea" family, dancing singings, metric style of 12 times. It is a festive flamenco singing included in the group of Songs from Cadiz (called "Cantiñas"). Its "copla" or verse usually has four octosyllable verses. Its melody incites to dance. Its rhythm is determined by the metric of the "solea" compas, but it is different of the solea because of its time is faster. It is a light, happy and sensual style, clearly a dancing ryhthm.

  • Tangos

    Tangos, this palo belongs to the gypsy singing branch and to the "tientos" family, typical singings to dance. This is a flamenco with "copla" "palo", containing three or four octosyllable lines. Considered like one of the basic styles of flamenco. We can find it under several modes: from Cadiz, Triana, Jerez or Malaga. All the theories are talking about its origin between Cadiz and Sevilla, nothing to do with the Argentinian tango. Possibly coming from old singings of the XIX. Century. Those singings experienced changes until they took the shape that we know today: a singing performed in 4/4 and in all the possible tonalities. The first singers were El Mellizo and Aurelio Sellés in Cadiz, Pastora Pavon and "el Titi" in Sevilla, Frijones and "el Mojama" in Jerez, and La Pirula, la Repompa and el Piyayo in Malaga.

  • Tangos

    Tangos, they belong to the dancing songs. A flamenco palo with "copla", with three or four octosyllable verses. Considerated like a flamenco fundamental style, with various forms. Among them we emphasize on the Tangos from Cadiz, Triana, Jerez and Malaga. All the theories indicate that the origin of the tango is between Cadiz and Sevilla, there is no relation with the tango from Argentina. The first performers were El Mellizo and Aurelio Sellés in Cádiz, Pastora Pavón and el Titi in Sevilla, Frijones and el Mojama in Jerez, and La Pirula, la Repompa and el Piyayo in Málaga.
  • Tanguillo.

    "Tango del carnaval" or "Tango de Cadiz". Folk song performed by the Choirs during the Carnival. "Compás" or meter 4/4.

  • Taranta

    Tarantas, they belong to the Andalusian songs branch, folk songs from the East coast, flamenco styles originated in the eastern provinces, Almeria and Murcia, songs from the mine, and free measure. They belong to the tangos group with a binary measure. The taranta is the major song of the eastern style. Long song, hard, rough and manly, only influenced by the fandango. The taranta is the mine song par excellence. Born in the miner basins the taranta is the reflect of the tortured landscapes and transmit the superhuman efforts and the tiredness of the first countrymen.
    Very romantic folk song and very expressive. The guitar is the tone support and keeps the rhythm.
  • Tarantas

    Tarantas, they belong to the Andalusian songs branch, folk songs from the East coast, flamenco styles originated in the eastern provinces, Almeria and Murcia, songs from the mine, and free measure. They belong to the tangos group with a binary measure. The taranta is the major song of the eastern style. Long song, hard, rough and manly, only influenced by the fandango. The taranta is the mine song par excellence. Born in the miner basins the taranta is the reflect of the tortured landscapes and transmit the superhuman efforts and the tiredness of the first countrymen.
    Very romantic folk song and very expressive. The guitar is the tone support and keeps the rhythm.
  • Tarantas

    Tarantas, they belong to the East songs, flamenco styles of the eastern provinces, Almeria and Murcia, songs of teh mine and following a free metric system. The main eastern style is, witout any doubt, the "taranta". Long, rough and manly song, with the only influence of the fandango. The taranta is the usual miner song. Born in the most inhospitable miner basin, the taranta reflects in its tortured verses the superhuman effort, the terrible tiredness of the first country persons.
    Very romantic song, very expressive. The guitar is used like the tone and rhythm support.
  • Tarantas

    Tarantas, they belong to the East songs, flamenco styles of the eastern provinces, Almeria and Murcia, songs of teh mine and following a free metric system. The main eastern style is, witout any doubt, the "taranta". Long, rough and manly song, with the only influence of the fandango. The taranta is the usual miner song. Born in the most inhospitable miner basin, the taranta reflects in its tortured verses the superhuman effort, the terrible tiredness of the first country persons.
    Very romantic song, very expressive. The guitar is used like the tone and rhythm support.


     

  • Taranto

    Taranto, it belongs to the tangos group, with a binary metrical system. Originated in Almeria and descending from the Taranta. The difference is in the "compas". This folk song is coming from the miner area of Almeria, The Taranto also belongs to the group of the miner songs.
    Born in the most inhospitable miner basin, the taranta reflects in its tortured verses the superhuman effort, the terrible tiredness of the first country persons.
    Very expressive song. The guitar is used like the tone and rhythm support.
    Only great "cantaores" with special abilities were able to sing that kind of folk songs, like El Alpargatero, "el canario" and other. To show off, the cantaores extended the "tercios" and the phrase with some embellishment.
    Compas of 4/4.
  • Tientos

    "Tientos", it belongs to the gypsy singing branch and it is included in the "tientos" family, dancing singing, included in the "tangos" group and binary style. In the area of classical music there is a composition called "Tiento" (singular) but it has nothing to do with the anterior definition. The "copla" contains three or four verses, octosyllables, and a refrain. Coming from the flamenco tango, even if the rhythm is slower, therefore we called it "tango tiento" primitivally.

  • Tientos

    "Tientos", it belongs to the gypsy singing branch and it is included in the "tientos" family, dancing singing, included in the "tangos" group and binary style. In the area of classical music there is a composition called "Tiento" (singular) but it has nothing to do with the anterior definition. The "copla" contains three or four verses, octosyllables, and a refrain. Coming from the flamenco tango, even if the rhythm is slower, therefore we called it "tango tiento" primitivally.
  • Tientos

    "Tientos", it belongs to the gypsy singing branch and it is included in the "tientos" family, dancing singing, included in the "tangos" group and binary style. In the area of classical music there is a composition called "Tiento" (singular) but it has nothing to do with the anterior definition. The "copla" contains three or four verses, octosyllables, and a refrain. Coming from the flamenco tango, even if the rhythm is slower, therefore we called it "tango tiento" primitivally.
  • Verdiales

    Verdiales, they belong to the Andalusian songs branch, styles from Malaga. They are a sociomusical demonstration with a rural origin, only performed in some geographical points of Malaga, near Granada. Its singing and dancing style is accompanied by a "rondalla" made up by a violin, two to four guitars, a tambourine, two or more "crótalos" (kind of castanets), castanets and sometimes a lute or "bandurria". Using the jargon we called the group of performers, singers (cantaores) and dancers (bailaores) the "Panda de Verdiales" (the gang of verdiales), and we called their shows the Party of Verdiales. A member of a gang is called "fiestero".
  • Verdiales

    Verdiales, they belong to the Andalusian songs branch, styles from Malaga. They are a sociomusical demonstration with a rural origin, only performed in some geographical points of Malaga, near Granada. Its singing and dancing style is accompanied by a "rondalla" made up by a violin, two to four guitars, a tambourine, two or more "crótalos" (kind of castanets), castanets and sometimes a lute or "bandurria". Using the jargon we called the group of performers, singers (cantaores) and dancers (bailaores) the "Panda de Verdiales" (the gang of verdiales), and we called their shows the Party of Verdiales. A member of a gang is called "fiestero".
  • Villancico

    Villancico, it belongs to the folkloric branch. A purely gypsy song, usually performed during Chrsitmas. Festive songs (carols), with rhythm and art, attached to the Solea. Originated in Jerez.
  • Zambra

    Morisco party with music and "algazara". Subsequently, the typical party of the Andalusian gypsies. Today we use the "zambra granadina".
    In the "cueva sdel Sacromonte" we will find three different dances: the "alboreá", the "cachucha" and the "mosca", symbols if the three moments of a gypsy wedding. This is an old dance.

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