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See The Compas Analysis Addendum for additional information on the flamenco forms.
The Flamenco forms can be characterized in various ways; by their compas structures, by their letras (verses), by the key in which they are performed (relative to the cejilla, which is used to set the pitch of the fundamental keys on the guitar neck), and by their specific chord progressions and the strums (rasgueados) used to express them.
Flamenco forms are also often characterized by their emotional content. The (cante, baile, toque) chico refers to the lighthearted, quick tempo rhythms. At the other end of the emotional spectrum, the jondo or grande forms interpret the tragic, existential forms, expressing the ducas negras, or "black" emotions of man. In between (as the name suggests) are the intermedio (intermediate) forms, usually derived from the Fandangos family.
Harmonically, Flamenco is performed in three scale/harmonic structures; the major scale (with a happy feeling), the harmonic minor scale (melancholic), and the Phrygian mode (the tragic flamenco key). Each of these scales has its own related chord progressions and question/answer and resolution phrases.
In addition, some of the dances (cantes, toques) are montado (mounted); that is, they are highly structured. Others are freely improvised - however, it cannot be stressed too strongly that within the rhythmic forms the compas is inviolable - it can be stretched for artistic purposes occasionally, but that requires a great deal of flamenco experience, and certainly the ability to play each phrase in strict compas if required.
The Farruca is the male "macho" dance of Flamenco, and is usually accompanied by guitar in the key of A harmonic minor (only rarely performed with cante). Guitar solos can also be performed in E minor and D minor (with the 6th string of the guitar detuned to D).
The accompaniment is driving, with only a few standard falsetas (e.g., a descending scale run called the escalera (staircase). Antonio Gades gives a particularly pure interpretation of this form in concert (strongly influenced by the style of Vicente Escudero); an interesting version (without guitar) can be seen in the seduction scene in the Spanish film version of Carmen (directed by Carlos Saura). He also performs the Farruca in a famous scene in the film Los Tarantos. The basic counting/note group compas and llamada for Farruca is given by:
The Tangos is a lively cante/baile, usually performed in the key of A Phrygian mode; often it is the finale to Tientos. It's feeling is closely related to that of Rumba and occasionally uses Rumba rasgueado forms. Its basic counting/note group compas and llamada is the same as that of Farruca (except it is in the A Phrygian Mode).
The Tientos is a serious cante/baile performed usually in the key of A Phrygian mode. The tempo is slow and intense, but a performance usually ends by speeding up into a Tangos. Although it is included in the group together with Tangos and Rumba, its rasgueado accompaniment is sometimes similar to that of Tanguillo/Zapateado, but with a totally different feeling due to its key and much slower tempo. (Note that the middle note of the "anacrusic triplet" is omitted; in conventional notation, this would be indicated by a "dotted" note.):
The Rumba (or Rumba Gitana, to distinguish it from the Cuban version) is a lively, strongly rhythmic popular form, performed in the keys of A minor, E minor, A major, and sometimes in E major, with occasional transitions to other keys (relative major, minor or Phrygian mode). There are a wealth of verses, with some Tangos verses used interchangeably.
Individual measures of Rumba are often characterized by a polyrhythm that divides eight notes in a measure into two groups of three and one of two against the steady beat:
The Zambra and Danza Mora show a strong Moorish influence as their names suggest; the compas is slow and sensuous. The dancer sometimes uses finger cymbals (as in Middle Eastern dancing) to accompany her dance, which is often performed barefoot.
Guitar accompaniment is usually in A minor/ E Phrygian mode, with guitar solos in D minor as well (detuning the sixth string to D). Famous versions ofZambra guitar solos have been composed by Sabicas and Esteban de Sanlucar.
The Taranto has a 4/4 compas similar in mood to that of Zambra (or Danza Mora), except that it is interpreted by the guitar in the key of F# Phrygian mode, which gives it a haunting quality. As in Zambra, dancers occasionally use finger cymbals for effect, but the cante is that of miners from the Alicante region in Spain. Famous versions of the dance have originated with Carmen Amaya and Carmen Mora; some of the most often used falsetas have been recorded by Paco de Lucia in his album "Fabulosa Guitarra de Paco de Lucia".
Tanguillo (de Cadiz)
The Tanguillo is a lighthearted cante and baile, usually accompanied in the key of A major; the copla (verse) has excursions to A minor/E Phrygian mode. The copla has a traditional form for the dance, although there is a wealth of verses for the cante in different forms. The traditional rasgueado accompaniment is identical to that of Zapateado, and is expressed as anacrusic triplets.Some alternative rhythm sequences characteristic of Tanguillo/Zapateado are:
Alternative Compas for Tanguillo/Zapateado
The Zapateado is primarily a footwork solo for men, which has been interpreted by females in more recent times. It originated with Estampio, whose version consists of seven highly musical and lyrical footwork sections. It is generally accompanied in C major (no cante), and has a traditional guitar falseta called the campanas (bells). Its traditional compas (like Tanguillo) is expressed in anacrusic triplets. Its traditional is identical to that of Tanguillo (see above).
Guitar solos have been originated by many artists (often departing considerably from C major); in particular, Sabicas, Mario Escudero, Serranito, and Paco de Lucia.
The Garrotin is a cante/baile usually interpreted in C major, and has a somewhat driving rhythm similar to that of Farruca (see above). It was popularized by Sabicas and Carmen Amaya.
The Columbianas is a cante/baile usually interpreted in A major, and is derived from folk songs from Columbia, South America as its name suggests. It was popularized by Sabicas and Carmen Amaya. It has a lyrical, somewhat driving rhythm similar to Tangos (see above); it makes use of dominant 9th and tonic 13th chords for its Latin American flavor.
The Soleares is one of the most important cantes/bailes in Flamenco. It is traditionally accompanied in the key of E Phrygian mode, but in some cases in A Phrygian mode (sometimes guitarists refer to the latter as Solea por Bulerias, but the distinction is actually in the letras of the cante). It is characterized by a 12 count compas (both types are used). However, the 6/8, 3/4 compas is often played half as fast as discussed earlier, which actually makes it 6/4, 3/2; the accentuation and counting are the same, except the foot (in accompaniment) taps on every quarter note (count).
The Soleares cante has many forms; usually a copla (verse) sets a theme in a one or two compas "question" and than answers it, often in a two compas sequence that includes the cambio (a brief excursion to the relative major). The cambio serves a similar function to the "hook" in popular music, or the "turnaround" in 12 bar blues.
The dance uses llamadas (calls) to distinguish and mark different sections of the dance. Often a taconeo (footwork) solo is included in the 3/4 12 Count "question/answer" form.
The entrance to the cante is marked by a vocal sequence in which the singer "warms up" called the temple. The Soleares dance usually ends with a Bulerias finale (at a more rapid tempo than Bulerias when interpreted in its own right). The finale to the cante when sung alone is usually terminated by a sequence in E major (for the E Phrygian mode) called the remate.
The structure of the dance might have the following form:
The Solea por Bulerias is very similar in form to Soleares, the main distinction being in the key of guitar interpretation (A Phrygian) and the letras to the cante. As far is the dance is concerned, it is similar to the Soleares, except performed at its faster tempos (i.e., 6/8, 3/4).
The Cana and Polo have compas structures similar to that of Soleares, and is usually expressed in E Phrygian mode. However, the cante is not in copla form, although it makes brief excursions to the related major and minor from the Andalusian cadence. It is characterized by traditional vocal sequence called the lamento (lament), with a traditional guitar falseta/footwork sequence using secondary dominant chords in the Andalusian cadence. Otherwise, the dance structure is similar to that of Soleares.
The Alegrias is a cante/dance usually performed in A major (in E major, it is called Alegrias por Rosas). The dance is highly structured, and similar to the Soleares, with a sequence in the minor key (A minor) called the silencio and a traditional section called the Paseo Castellano (a step also used in Soleares).
Like the Soleares, the Alegrias dance often includes a taconeo section (which can be without guitar accompaniment, as with Carmen Amaya's version). The old style of Alegrias included a section called the Ida, as a transition between the buildup of the taconeo solo and the transition to the Bulerias finale.
A typical dance sequence might be the following:
The use of the bata de cola (a train on the dress of the female costume) is traditional with Alegrias.
Alegrias por Rosas, Caracoles, Cantinas, Romeras
These cantes have the same rasgueado (guitar) accompaniment as that of Alegrias, the main distinction being in the letras to their cantes, and the keys in which they are performed.
The Alegrias por Rosas is performed in E major, and is primarily interpreted as a cante.
The Caracoles is a cante accompanied in C major (with a short excursion to E Phrygian in one of its traditional letras. A fan is often used with the dance.
The Cantinas exists as yet another form similar to Alegrias (but accompanied in C major)
The Romeras use the same rasgueado accompaniment as Alegrias, but is performed in E minor).
Among the flamenco rhythms, the Bulerias remains supreme as the favorite fiesta rhythm. It is highly complex rhythmically with many variations and a rich tapestry of guitar, dance, and song effects.
There are two main approaches to Bulerias - one in its interpretation as a rhythm in its own right, and the other is its use as a finale to many of the other dances (in which case it is interpreted much faster).
The Bulerias is performed in most keys easily available to the guitar; A and E Phrygian Modes, A and E Minor, and A and E major (although usually not in C major - it doesn't seem to have the required "punch"). Sometimes, for fun, guitarists will solo in F# or B Phrygian as well.
The structure of the cante was derived from that of Soleares, complete with cambio. The traditional verse form is called copla; however, many popular versions of Bulerias verses exist (called cuples).
The dancer uses a two compas (12 count) sequence called the desplante which is used to differentiate sections of her performance and to mark transitions between steps. The first compas has a traditional form, and is used as a signal; the second compas is where the creative stuff happens (pelizcos), and is where the dancer can express his/her choreographic originality.
Between coplas of the cante and steps of the dance, the guitarist has almost impossible freedom - he can play any number of 6/8 or 3/4 six count or 12 count measures of guitar rasgueado and falsetas. (Singers and dancers also have this freedom, of course; that is why Bulerias can always be accompanied with the preferred dobles palmas - since it gives everyone a six count reference.
There are two types of resolution phrases in Bulerias; the first is a six-count 3/4 measure on the tonic chord:
Jaleo (Chufla) Compas (3/8)
The second is used with the Jaleo (also sometimes called the Chufla) form of Bulerias. The structure of the Jaleo is actually a speeded up form of the 12-count 3/4 "question/answer" phrasing of the Soleares, and is written in 3/8:
The Jaleo cycles are always in multiples of two (2 x (3/8) = 6/8) for the dancer. The resolution phrase in Jaleo is the answer phrase (counts 10 - 12). (Since guitarists are not restricted to 12 counts, the answer phrase may come on 4 - 6 in a guitar falseta).
Transitions between the two types of cycles (6/8,3/4) and Jaleo will be discussed in the following sections on the desplante.
12- Count Bulerias Compas
The 12 count compas for Bulerias can be written in alternating measures of 6/8, 3/4 or in 4 measures of 3/8 (in the latter case, transition is on the pivot point of 10; transitions are discussed in the following two sections on the desplante):
Note that the second compas has been written in Jaleo form to emphasize its relation to Soleares and Alegrias. In the former case the 6-count resolution phrase is appropriate, in the latter the Jaleo resolution on count 10. (See the following two sections for transitions between the two types of phrasing). Compare the second compas to the 3/4 12 Count compas cycle discussed earlier.
The Desplante por Bulerias
The desplante is actually most easily written in 3/8 (following the chording compas), and is derived from the cambio of the Soleares (in fact, the dancer should try to coordinate his/her desplante with the cambio of the cante when interpreting the dance):
The first compas for the dancer is a call, or llamada, and is performed in similar ways, since it is a signal to the guitarist. The second compas is an opportunity for the dancer to perform pelizcos (individual creative compas), and can emphasize any of the Bulerias compas measures (for variations, study the discussion on transitions in the next section). The 12th count of the second compas is strongly emphasized, since it is usually the transition to a 6/8 six count compas cycle in the next section of the dance. (Compare the palmas in counts 7 through 10 in the second compas with the six-count resolution phrase for Bulerias).
Transition between Bulerias desplante and other compas cycles
A major source of confusion often is the transition between the Jaleo (and desplante) forms and the 6/8 and 3/4 forms (or combinations thereof). This is best explained of by thinking of the count 4 (or 10) as a "pivot point" (i.e., a single count of a resolution phrase).
Notes:
Remember, the foot taps on the even beats throughout when accompanying (here one of the 3/8 measures has been divided up to effect the transition).
If making the transition from the 6/8, 3/4 forms to the Jaleo or desplante, wait two counts (11,12) before entering the 1 count of the new cycle.
If making the transition to the 6/8 or 3/4 rhythms from the Jaleo or desplante, wait only one count (11) before emphasizing the 12 count of the new cycle.
These cantes/guitar solos are called the intermedio forms, and although the cante is without compas, guitar falsetas are interpreted in 3/4 or 6/8 phrases. Since the cante is without compas, they are not danced.
The bases of these cantes are the Phrygian mode in the various keys, but the cante has a common structure in the relative major of each of these keys. The "Fandangos copla progression" for E Phrygian mode is performed in C major (C -> F -> C -> G7 -> C -> F -> E); it is transposed to the other keys of the members of the family.
Fandangos (de Triana, or Grande)
This toque is performed in E Phrygian, with the cante accompaniment in C major. It can approach the cante grande category in interpretation.
Tarantas
This toque is performed in F# Phrygian. (Letras/solo falsetas are often performed using secondary dominant sequences ).
Granadinas
This toque is performed in B Phrygian, with the cante accompaniment in G major.
Malaguenas
This toque is performed in E Phrygian, with the cante accompaniment in C major.
Rondena
The name of Rondena is applied to two forms in Flamenco. The first is a form of cante similar to that of Verdiales; the second is a guitar solo originated by Don Ramon Montoya, in which the 3rd string is detuned to F# and the 6th string to D. The toque is then interpreted in the C# Phrygian mode, which necessitate rethinking the physical chord and scale patterns on the guitar neck, for sure!
Peteneras is a cante/baile that interprets the story of a beautiful Jewish courtesan, who broke many mens' hearts and finally died a violent death. The compas is in strict alternating measures of 6/8, 3/4 and is interpreted in E Phrygian mode. The female dancer often uses a manton (shawl) in her interpretation - it is not often danced by men except in a couples format.
The Guajiras is a cante/baile derived from Cuban themes; it is in strict alternating measures of 6/8, 3/4 in A Major. Letras deal with wistful remembrances of daily scenes in Cuba.
The Siguiriyas is one of the two most important cante jondo rhythms (the second being Soleares). The themes of Siguiryas are truly tragic - death, existential alienation, unrequited love, despair, desolation, and loneliness.
The compas is usually interpreted in A Phrygian, and is in strict alternating measures of 6/8, 3/4; however, a compas cycle begins on the 2nd count of the 3/4 measure and ends on the 1st count of the next 3/4 measure in the sequence. The resolution phrase begins on count 3 of the 6/8 measure:
(There is a version in A major, called the Cabales).
There are very few dancers who can interpret the dance with the equivalent intensity of the great cantores (singers). Nino Ricardo was especially known for his Siguiriyas guitar falsetas.
The Serranas is a cante with the same compas structure as the Siguiriyas. However, it is not nearly as intense - its themes revolve around the concerns of and about mountain bandits. It is interpreted in the key of E Phrygian, with a "lament" similar to that of the Cana; it is rarely danced.
These cantes/bailes are derived from Fandangos, and are rhythmic manifestations of the cante - as such, they are less serious (actually lighthearted in many cases).
Fandangos de Huelva (Fandanguillo)
The Fandangos de Huelva has a 12-count marking (i.e., chording) compas (two measures of 3/4 time) in E or A Phrygian mode that immediately identifies it. Its coplas (verses) are structured in six 12-count compases in the relative major (C or F) in the traditional Fandangos chord progression. (There are versions in Am, however.)
The marking compas is generally interpreted by dance steps in 3/4 or 6/8 similar to those of Bulerias, or are derived from the classic school of the Escuela Bolera , similar to Sevillanas. The coplas are usually interpreted by 12 count steps similar to the Paseos of Soleares and Alegrias.
The finale of Fandangos de Huelva has a traditional form of cante withletras (words):
"arimate, ay, gitana mia (Jaleo Bulerias steps)
yo no puedo vivir sin ti
vivir sin ti, ay, no puedo mas (desplante)
gitana mia, me va matar
quitate del sol que te quema (desplante)
quitate del sol que te pone
que la carita morena"
A typical Fandangos alternates marking with coplas, finishing with the finale.
Palmas accompaniment to Fandangos de Huelva is similar to Dobles, except that the clap on count 5 is omitted.
Palmas for Fandangos de Huelva
Fandangos de Malaga (Verdiales)
Like the Fandangos de Huelva, the Verdiales has a marking compas that immediately identifies it, and uses the rasgueado often identified by the public as "Spanish" guitar; it is performed in the E Phrygian mode. As its name suggests it comes from the hills around Malaga; it is more folkloric than flamenco, and the dancers often wear beribboned hats and accompany with oversized castanets.
Its cante uses the traditional Fandangos chord sequence in its relative major (C). Palmas accompaniment is Dobles, as for Bulerias.
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