a type of hoarse, earthy flamenco voice

stage front

a chord whose notes are played in succession, not simultaneously

stage rear

the dance

dancer

body of the guitar

movement of the arms during the dance

very closely related to Soleares, is one of the oldest forms of flamenco, and one of the most pure and beautiful.

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.

a style influenced by the Moors of N.Africa (stands for Moorish Dance); guitar 6th string tuned to D

toná with religious overtones

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

the soul force that inspires flamenco art

entrance of the dancers

a flamenco phrase

skirt

a melodic variation played by guitarist

high pitched voice

a dance from Huelva; cante chico

a spectacular male dance, one of the more recent forms of flamenco. Its origin is perhaps in some chants from the North of Spain. It is never sung when played in the pure flamenco idiom. As a dance or as a guitar solo, it is a very dramatic piece.

music/dance from Andalucia in Southern Spain. Roots in Indian, Arabic, Spanish cultures.

movement of the hands

gypsy

a style influenced by Cuban rhythms

deep, profound

flamenco party or jam session

“call” or “break”, dance movement signalling a change of section

a free form flamenco style (no specific compas, interpretive, and not danced) from Malaga. Descendent of the Fandango family.

embroidered silk shawl with long fringes

movements of the dancer during the letra

toná sung by the gypsies in a forge; refers to hammer

castanets, not used in pure flamenco

rhythmic hand clapping used to accompany flamenco song and dance

men that clap while the musicians play

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.

flamenco scales on the guitar

finger snapping used to accompany flamenco song and dance

sole of the foot

flamenco song derived from the Soleares family

toe of the foot

plucking technique on the guitar

cry, lament

guitar strumming technique

flamenco voice

a free-form style; it uses an alternative tuning for both 3rd and 6th strings

flamenco style influenced by New World rhythms; strumming characterized by damping the strings with the whole hand for syncopation

exit of the dancer

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

profound song, usually sung in a minor key

cante jondo called the mother of flamenco song. Consists of 12 beats with accents on the 3rd, 6th, 8th, 10th, and 12th.

club with stage for flamenco shows

flamenco guitarist

heel of the foot

footwork

baile chico, flamenco song & dance

flamenco song and dance dervied from the tango

free-form style; tarantos danced so it has a compas, and is related to the tarantos in key, etc.

cante jondo, derived from tango

flamenco guitarist

the earliest know flamenco song

guitar playing

guitar playing with fixed patterns of rhythmic beats

guitar playing with free form rhythm

a rapid fluttering of a guitar tone or alternating tones

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.