percussion in Sevilla . It belongs to the songs without guitar accompaniament but the great guitarist Carlos Montoya has made an arrangement , imitating the military band of the procession , including drums and cornets , the interlude of the unaccompanied song and the procession moving off . SEGUIRIYAS : The phonetic corruption of the Castilian word “ Seguidillas ” or “ Coplas de Seguida ” (= couplets that follow ) rhythms . Seguiriyas are closely related to the chants of Synagogue of the Jeus and the Arabic songs . They form the most tragic element of Flamenco . In the past they were also called PLAYERAS . SERRANA : The song of the hills and the smugglers has the same rhythm with seguiriyas but it lacks their profundity and pain . SEVILLANAS : The rhythm of Sevillanas derived from “ Seguidilla de La Mancha ”. Sevillanas are very popular throughout Andalucia . They are danced and sung with the accompaniament of guitar , pulmas and castanets which create a very happy atmosphere . SOLEARES : Soleares is considered to be the mother of all Flamenco songs . Its name derives from the word “ soledad ” which means solitud . This basic Flamenco style has influenced many others and it forms the group of fundamental Flamenco songs with Tangos , Tonás and Seguiriyas . TANGOS : The bright , quick and very suitable to dance rhythm of Tangos originated in the city of Granada . It is one of the basic flamenco songs . TANGUILLO : The light song and dance from the province of Cadiz has the same rhythm with Tientos but it is lighter , with a distinct quality characterized by a gay mood . It is faster than Tientos but slower than Tangos . TARANTA : This mine song is the most typical song of the miners . Being a Cante de Levante that is free in rhythm , like Fandango libre , it cannot be danced . It originated at the province of Almeria and deals with the miserable life of the miners . TARRANTO : Having a strict rhythm , this song is the dancing form of Tarranta . It is very popular in the province of Almeria , where one can find too many mines . TEMPORERA : The song created by the field labourers in the province of Cordoba . It is something between Trillera and Calesera .
TIENTOS : Build in the rhythm of Tangos , it is the latter ’ s melancholic version which originated in Jerez de la Frontera . TRILLERA : Andalusian song of the labourers sung when threshing . It is also called “ cante de Trilla ” that is “ the song of threshing ”. TONÁ : Basic flamenco song without guitar accompaniament . From Tonás derived many flamenco songs as seguiriyas , liviana , saeta and many others . According to the musical intervals the singer uses , they are distinguished in : Toná Grande and Toná Chica . VERDIALES : This rhythm is very popular in the province of Málaga . It is an old folk dance possibly older than Flamenco itself . It was adapted to flamenco repertory and now it is sung throughout Andalucia . VIDALITÁ : Latin American originated rhythm incorporated to flamenco repertory as a “ cante de ida y vuelta ” that in the category of “ return songs ” with Rumba , Milonga , Guajira and Colombiana . VILLANCICO FLAMENCO : The folk Andalusian rhythm of Villancico was adapted to Flamenco to serve as religious song . Many Christmas carols are sung on its rhythm as well . ZAMBRA : The gypsies in Granada gather to Sacromonte to celebrate the Zambras . It is a female dance only . The rhythm has many similarities with Tangos , which also originated in Granada . In all Spanish music Zambra has got the strongest moorish influence . ZÁNGANO : A song very similar to the Verdiales of Málaga is accompanied in the same way and rhythm with them as all cantes abandolados . ZAPATEADO : “ Zapato ” means shoe . The heel sounds have characteristic role to the dance . In early days only men danced it . Today it is danced , also , by women . There is no song for Zapateado . It is only a dance . Its rhythm is similar to the Tanguillos de Cadiz . ZORRONGO : An old Spanish dance for men wearing a handkerchief . Today the song is also interpreted in the rhythm of Bulerias por Soleá .
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