Flamenco styles

1 of 10 6/11/2006 9:51 PM

Flamenco stylesBy Sal Bonavita

This free Ebook is a product of

Sal's flamenco Soapbox

Copyright © 2006 by Sal Bonavita

herso.freeservers.com

You are allowed to distribute this Ebook to others.But the actual content may NOT be re-published in electronic, print, website text or any

other form without the express written permission of the author.Contact me if you have any questions

sal565@hotmail.com

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Flamenco styles

2 of 10 6/11/2006 9:51 PM

Flamenco styles

ContentsClassifying Song Forms

Compás groupings

Compás similarities

Flamenco family tree

Song regions in Andalucia

Tempos and moods

Classifying Song FormsCante jondo

Cante Jondo, the original type of flamenco cante (singing). The word "Jondo" means deep or profound. This refers to a "style of

singing" and usually expresses tragic themes. Various song forms, such as Soleares and Siguiriyas are considered Jondo songs

by nature and fall into this category.

Because of the wide variety of flamenco songs and regional styles it was inevitable that someone would come along and try and

categorize them all in some meaningful way. Jose Carlos de la Luna (1935) tried to divide flamenco forms into two basic types:

cante grande (important songs) and cante chico (less important songs ). In the Grande category he naturally placed the

original Cante Jondo type of songs. The rest, the lighter festive songs went into the Chico category. But these classifications

(including Cante Jondo) all suffer from being highly subjective. This makes the criteria somewhat arbitrary.

In 1971 Ricardo Molina divided flamenco cante into two main groups, with a supplementary third group of folkloric styles.

1. Cante gitano: The musical forms developed by gypsies. Toná, Soleá, Siguiriya, Tango and Buleria.

2. Cante andaluz: Andalusian folk music. Fandango and Cantiñas, such as Alegria.

3. Cantes folkoricos: The "not really flamenco" styles. Sevillanas, Farruca, Garrotín and the Rumba from Cuba all belong to

this group. Other types of Spanish gypsy folk music which are not considered to be true flamenco, such as those heavily

influenced by Arabic culture would also fit into this third group. This text is partly based on information found in anessay by Marion Papenbrok (Flamenco, Gypsy Dance and Music from Andalusia, edited by ClausSchreiner) Amadeus Press 1990.

It all gets a little too complicated when we try to appease the intellect in our attempts to "get it right". The three general

classifications I like to use, Grande, Intermedio and Chico are not my invention, but I see them as a brave attempt to keep it

simple. It needs to be said that not everybody agrees with this method of pigeon holing the song forms. Even a street level

flamenco rebel like myself can agree with the academic assertion that this method is highly subjective. Despite this, it seems to

be the most commonly used (and sensible) system, so why overload the brain any more than we have to?

Naming conventions

Have you ever wondered what the difference is between Soleá and Soleares? There is no difference. Strictly speaking, forms

ending with an 's' indicate a generic grouping (plural). The singular form Soleá is simply one variation, or version of the

Soleares family. When you think about it, an individual can only play or dance one Soleá at a time, so why call a dance

Soleares?

This is one of those strange mysteries that have no real answer, except to say that tradition dictates it to be this way. So why

not call Farruca "Farrucas"? Because tradition did not dictate it to be this way, that's why! Apart from some exceptions like this

that sound kind of silly, virtually all flamenco forms are cross-named in this singular/plural way. Other examples of this

anomaly are Fandango/Fandangos, Bulerías/Bulerias, etc

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Compás groupings

The 4 beat column classifies also those forms normally counted in 8's.

The 3 beat column classifies also those forms normally counted in 6's

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Another grouping listThis list includes many lesser known flamenco forms that you may never come across. But they do exist. Personally I find it all

a bit of a brain overload. I prefer to stick with the major and more common forms indicated on the compás similarities chart.

Toná groupDeblaMartineteSaetaToná

Soleá groupAlboreáAlegríasBamberaBuleríasCampanillerosCañaCantiñaCaracolesCarceleraCartageneraColombianaMarianaMirabrásNanaPeteneraPoloRomanceRomeraRondeñaSevillanaSoleáTrilleraVidalitaZambraZorongo

Fandango groupFandangoVerdialesJaleosFandanguilloFarrucaGarrotínGranaínaGuajiraJaberaMalagueñaMediaMediaGranaínaMilongaMineraRumbaTangoTanguilloTarantaTarantoTiento

Siguiriya groupCabalesLivianaSeguiriyaSerrana

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Toque Libre - No definable compas

Cartegenera

Fandango Grande

Jabera

Minera

Murciana

Rondeña

Danza Mora

Granadinas

Tarantas

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Song regions in Andalucia

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Tempos and moodsEmotive expression

Flamenco has been defined as "an expression of the human condition". I like that. Traditionally, each form has a unique

emotional atmosphere connected with it. The best way to experience this is to listen to traditional style singing recordings. You

can really feel the agony and the ecstasy expressed in these songs. If a song moves you internally to feel specific emotions, the

singer has done his or her job.

Tempo variations

The tempos shown here are meant only as a general guide. In reality (whatever that is) most forms can vary greatly in speed

as the performance progresses. Garrotín and Farruca and Zapateado for example, have alternate fast and slow passages.

Soleares and Alegrías are two forms with sections which can gradually build up tempo. We’re speaking traditionally of course.

With modern flamenco however, almost anything goes. I'm referring to stretching the boundaries of traditional flamenco forms,

not the Ottmar Liebert's brand of totally unrelated 'New Flamenco'. Stretching boundaries is fair enough. After all, flamenco is

an evolving art form and new ideas and fusion concepts are all part of the mix. Did I mention rules? Basically there are none,

not for style anyway.

Speed freaks

Back in the fifties and sixties, flamenco performance seemed to follow a predictable formula which included a healthy serving of

showmanship. The exotic element was exploited to the max. In addition, it seems every recording from that era tried to outdo

the rest with speed. They played very, very fast in those days and tremolo was included wherever possible.

Showmanship - Where's the compás?

Anyway, the only rules which are considered sacred relate to compás timing. Even so, compás tends to get a little hazy with

some of the flashy recordings of Manitas de Plata, Carlos Montoya and even Sabicas. I know that may sound sacrilegious to

Sabicas devotees, but please spare me your emails telling me what a misguided, bad person I am. I said some recordings by

these artists, not all. When I first started to accompany dancers and was beginning to understand compás, I had a good listen

to some of these old records again. All I'm saying is that I had a hell of a time trying to count out Sabicas pieces. I said to

myself, "this guy is supposed to be a master, so where is the compás definition and accented beats? I can't hear it". It was sort

of there, but with all the slowing down and speeding up it is almost impossible to pick at times.

Whatever turns you on

With genuine flamenco groups, when was the last time you saw a performance of Soleares that reminded you of loneliness and

introspection? If you like a little anarchy in your lifestyle, flamenco could be just what you've been looking for.

Flamenco styles

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BEATS PER MINUTE MOOD

230 Bulerias Festive, mockery, playing thefool

220

Chuflas Festive, fun,spontaneous

210

200 Rumba Festive, playful, seductive,Cuban flavor

Zambra Festive, fun

190

180 Guajiras Cheeky, seductive,Cuban flavor

Alegrías Happiness, merriment,celebration

170

Colombianas Enjoyment,celebration

160 Sevillanas Festive, traditional folkdance

Fandangos de Huelva Festive, traditional folkdance

150 Tarantos Darkness, tragedy, deprivation,sorrow

Zapateado Flamboyance, showmanship,cleverness

140 Verdiales Festive, traditional folkdance

Malagueñas Festive,lighthearted

130 Tangos Festive, lively

Garrotín Sensuous, cheeky,happy

120 Siguiriyas Mournful, desolute, a sense ofloss

Soleares Lonliness, longing,introspecrion

110 Farruca Dramatic, macho, disciplined,strutting

100

Peteneras Sadness, grieving,funeral like

90

80 Tientos Serious, stately, majestic,sensual

Flamenco styles

10 of 10 6/11/2006 9:51 PM

This free Ebook is a product of

Sal's flamenco Soapbox

Copyright © 2006 by Sal Bonavita

http://herso.freeservers.com

You are allowed to distribute this Ebook to others.But the actual content may NOT be re-published in electronic, print, website text or any

other form without the express written permission of the author.Contact me if you have any questions

sal565@hotmail.com

More free ebooks can be downloaded from herso.freeservers.com/ebooks.html