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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