A collection of terms used in connection with flamenco.<\/p>\n

A<\/h3>\n

afill\u00e1<\/strong>: a type of hoarse, earthy flamenco voice
\nalante<\/strong>: stage front
\nAlegrias<\/strong>: a joyful dance, in comopas of 12 beats, from Cadiz. The origin is in the jotas of Cadiz.\u00a0Traditional folk music of Aragon, brought to the Andalucian region by soliders during the\u00a0War of Independence in the early 19th century. The main characteristics of this style are the\u00a0richness of it’s guitar accompaniment, the intricacy of the dancing, the demands of the rhythm,\u00a0and it’s lively sound.
\nAndalucia<\/strong>: Region from southern Spain; birthplace of Flamenco.
\narpegio<\/strong>: a chord whose notes are played in succession, not simultaneously
\natr\u00e1s<\/strong>: stage rear<\/p>\n

B<\/h3>\n

baile<\/strong>: the dance
\nbailaor{a}<\/strong>: dancer (male & female)
\nbout<\/strong>: body of the guitar
\nbraceo<\/strong>: movement of the arms during the dance
\nBulerias<\/strong>: High-spirited song & dance from Jerez. This developed like Soleares from a simple style.\u00a0However, unlike Soleares, it has a fast and lively rhythm – indeed, the fastest in all\u00a0 flamenco\u00a0and provides enormous scope for improvisation on the part of dancers, singers and guitarists.\u00a0It is wild, frenzied and lively, but nevertheless contains the germ of sorrow that is almost\u00a0always present in flamenco.<\/p>\n

C<\/h3>\n

cabales<\/strong>: flamenco experts
\ncaf\u00e9 cantante<\/strong>: coffee house with flamenco shows (originally\u00a0starting with flamenco cante but eventually covering all flamenco forms)
\ncajon<\/strong>: percussive instrument similar to an empty wooden box
\ncalo<\/strong>: language of the gypsies
\nCa\u00f1a<\/strong>: Ca\u00f1a, also very closely related to Soleares, is one of the oldest forms of flamenco, and one of the most pure and beautiful.
\ncantaor{a}<\/strong>: singer (male & female)
\ncante<\/strong>: song
\ncante chico<\/strong>: light song, more frivolous
\ncante jondo<\/strong>: deep song covering both the dark and serious aspect of Flamenco
\ncante grande<\/strong>: more profound song
\ncarcelera<\/strong>: type of ton\u00e1s sung by incarcerated gypsies
\nCaracoles<\/strong>: This is one type of canti\u00f1 which appeared in Cadiz in the mid-19th century. It became strongly\u00a0associated with Madrid, although it is essentially from\u00a0 Andalucia, like all flamenco music.\u00a0Curro Cuchares and\u00a0El Tato’ who worked in the bull-rings and were also good singers took this\u00a0style to Madrid where it became very popular. Later it was recreated in a masterly way by\u00a0Antonio Chacon, who gave it its present brilliance and vitality.
\ncejilla<\/strong>: capo on a guitar
\ncolombianas<\/strong>: flamenco style influenced by S.American rhythms
\ncomp\u00e1s<\/strong>: beat, rhythm, measure, the characteristic rhythm of a form
\ncopla<\/strong>: verse
\ncuadro<\/strong>: group of flamenco performers, including dancers singers, and guitarists<\/p>\n

D<\/h3>\n

danza mora<\/strong>: a style influenced by the Moors of N.Africa\u00a0 (stands for Moorish Dance); guitar 6th string\u00a0tuned to D
\ndebla<\/strong>: ton\u00e1 with religious overtones
\ndesplante<\/strong>: section of a dance, as in “desplante por bulerias”, performed afterthe “llamada”. May range from\u00a0several steps to several compass depending on the choreography
\nduende<\/strong>: the soul force that inspires flamenco art<\/p>\n

E<\/h3>\n

entrada<\/strong>: entrance of the dancer
\nestribillo<\/strong>: a flamenco phrase<\/p>\n

F<\/h3>\n

falda<\/strong>: skirt
\nfalseta<\/strong>: a melodic variation played by guitarist
\nfalsete<\/strong>: high pitched voice
\nfandango<\/strong>: a dance from Huelva; cante chico
\nfarruca<\/strong>: a spectacular male dance, one of the more recent forms of flamenco. Its origin is perhaps\u00a0in some chants from the North of Spain. It is never sung when played in the pure flamenco idiom.\u00a0As a dance or as a guitar solo, it is a very dramatic piece.
\nflamenco<\/strong>: music\/dance from Andalucia in Southern Spain. Roots in Indian, Arabic, Spanish cultures.
\nfloreo<\/strong>: movement of the hands<\/p>\n

G<\/h3>\n

gitano<\/strong>: gypsy
\nguajiras<\/strong>: a style influenced\u00a0 by Cuban rhythms<\/p>\n

H<\/h3>\n

hondo<\/strong>: deep, profound<\/p>\n

J<\/h3>\n

juerga<\/strong>: flamenco party or jam session
\njaleo<\/strong>: utterances of approval, encouragement. Recognition of the duende
\njondo<\/strong>: variation of hondo most often associated with flamenco dance<\/p>\n

L<\/h3>\n

letra<\/strong>: verse of a song
\nllamada<\/strong>: “call” or “break”, dance movement signalling a change of section<\/p>\n

M<\/h3>\n

malague\u00f1as<\/strong>: a free form flamenco style (no specific compas, interpretive, and not danced) from Malaga.\u00a0Descendent of the Fandango family.
\nmanton<\/strong>: embroidered silk shawl with long fringes
\nmarcando<\/strong>: movements of the dancer during the letra
\nmartinete<\/strong>: ton\u00e1 sung by the gypsies in a forge; refers to hammer<\/p>\n

P<\/h3>\n

palillos<\/strong>: castanets, not used in pure flamenco
\npalmas<\/strong>: rhythmic hand clapping used to accompany flamenco song and dance
\npalmeros<\/strong>: men that clap while the musicians play
\npetenera<\/strong>: Cante that is out of the mainstream, derived from Andalucian folklore. The folklore\u00a0behind this is that the word is a corruption of “Patenera” who sang\u00a0the cante and came from Paterna de la Rivera. It is considered by the superstitious to be bad\u00a0luck to play.
\npicados<\/strong>: flamenco scales on the guitar
\npitos<\/strong>: finger snapping used to accompany flamenco song and dance
\nplanta<\/strong>: sole of the foot
\npolo<\/strong>: flamenco song derived from the Soleares family
\npunta<\/strong>: toe of the foot
\npunteado<\/strong>: plucking technique<\/p>\n

Q<\/h3>\n

quej\u00edo<\/strong>: lament<\/p>\n

R<\/h3>\n

rasgueado<\/strong>: guitar strumming technique
\nredonda<\/strong>: flamenco voice
\nrondenas<\/strong>: another free-form style; it uses an alternative tuning for both 3rd and 6th strings
\nrumbas<\/strong>: another flamenco style influenced by New World rhythms; strumming characterized by damping\u00a0the strings with the whole hand for syncopation<\/p>\n

S<\/h3>\n

salida<\/strong>: exit of the dancer
\nserranas<\/strong>: same compas as siguiriyas, but played in E instead of A so has a different mood and texture,\u00a0though some of the same variations can be transposed
\nsiquiriyas\/seguidillas<\/strong>: profound cante jondo
\nsole\u00e1\/soleares<\/strong>: cante jondo called the mother of flamenco song.\u00a0Consists of 12 beats with accents on the 3rd, 6th, 8th, 10th, and 12th.<\/p>\n

T<\/h3>\n

tablao<\/strong>: club with stage for flamenco shows
\ntacaor\/tocaor<\/strong>: flamenco guitarist
\ntacon<\/strong>: heel of the foot
\ntaconeo<\/strong>: footwork
\ntango<\/strong>: baile chico, flamenco song & dance
\ntanguillo<\/strong>: flamenco song and dance dervied from the tango
\ntarantas<\/strong>: another free-form style;\u00a0tarantos danced so it has a compas, and is related to the tarantos in key, etc.
\ntientos<\/strong>: cante jondo, derived from tango
\ntocaor\/tacaor<\/strong>: flamenco guitarist
\nton\u00e1s<\/strong>: basic flamenco song. The earliest known.
\ntoque<\/strong>: guitar playing
\ntoque comp\u00e1s<\/strong>: guitar playing with fixed patterns of rhythmic beats
\ntoque libre<\/strong>: guitar playing with free form rhythm
\ntremolo<\/strong>: a rapid fluttering of a guitar tone or alternating tones<\/p>\n

Z<\/h3>\n

zapateados<\/strong>: needs very fancy footwork; the compas speeds up, slows down,\u00a0 and speeds up again and\u00a0is a showcase for dancers (zapato means shoes). Derived from the tango.<\/p>\n

Phrases<\/h2>\n

Agua<\/strong>: Water! It’s so hot I need water!
\nAsi se baila<\/strong>: That’s dancing!
\nAsi se toca<\/strong>: That’s playing!
\nAsi se canta<\/strong>: That’s singing!
\nEso es<\/strong>: That’s it!
\nHassa<\/strong>: Great!
\njaleo<\/strong>: Ale, ole.\u00a0Possibly from the 12th century call “hala” Possibly from the Arabic: Allah!
\nOl\u00e9!
\nToma que toma<\/strong>: Take it!
\nVamos alla<\/strong>: Go there!
\nVamo’ ya!<\/strong>: Let’s go!<\/p>\n","protected":false},"excerpt":{"rendered":"

A collection of terms used in connection with flamenco. A afill\u00e1: 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.\u00a0Traditional folk music of Aragon, brought to the Andalucian region by soliders during the\u00a0War of Independence […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":52,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"_links":{"self":[{"href":"http:\/\/kcflamenco.com\/wp-json\/wp\/v2\/pages\/58"}],"collection":[{"href":"http:\/\/kcflamenco.com\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/kcflamenco.com\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/kcflamenco.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/kcflamenco.com\/wp-json\/wp\/v2\/comments?post=58"}],"version-history":[{"count":0,"href":"http:\/\/kcflamenco.com\/wp-json\/wp\/v2\/pages\/58\/revisions"}],"up":[{"embeddable":true,"href":"http:\/\/kcflamenco.com\/wp-json\/wp\/v2\/pages\/52"}],"wp:attachment":[{"href":"http:\/\/kcflamenco.com\/wp-json\/wp\/v2\/media?parent=58"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}