Flamenco Forms

There are within flamenco many forms, each with their own rhythm, harmony and atmosphere. The most typical flamenco rhythm is that which is used in the form of Bulerías and some other forms. It has a measure of twelve counts, with non-regular intervals between accents. It goes something like this: 1

2

3 ^

4

5

6 ^

7

8 ^

9

10 11 ^

12 ^

When analyzing this, you will find that it consists of two groups of three counts and three groups of two counts, with the accent on the last beat of each group. Like this: one-two-three-one-two-three-one-two-one-two-one-two Emphasize the last count of every group of three or two counts (and not the first: that's the western way of producing a rhythm). If you want to try to produce this rhythm, tap with your hand on the table regularly (about 1 to 2 beats per second), while counting from one to twelve, and repeat this. Nothing to it? Ok. Now try accentuating the marked beats above (3, 6, 8, 10, 12). This usually takes some practice, some people even practice while walking, or climbing stairs, using steps as counts. When you got it, try a faster pace; the tempo of a bulerias can be anything up to 300 beats per minute. Finally add some half-beats in between (ask a friend to mark the basic 'compás', as it is called). Now you have got the basics, in reality this is only a frame of reference, and the accents can be done differently (always related to the compás though). The name 'Bulerías' most likely comes from 'Burlar', meaning 'to joke'. This is reflected in the dance and text of the 'letras', and also in a musical way: there usually are a lot of musical jokes and unexpected rhythmical and melodically turns. I'll level with you: on average it can takes several years before one has internalized the compás sufficiently to fully appreciate a form like the Bulerías, let alone to successfully engage in practicing this in front of an audience. So, you'll have to fall in love with the music, and invest a lot of listening- and practice time. But it's worth it, believe me.

Other forms with a measure of twelve counts Alegrías Meaning cheerful, happy. This is the best known form of the family of "Cantiñas", another one is the Caracoles. Has a somewhat slower pace than Bulerías, but still very lively. Usually played in major, and has a cheerful quality to it. Soleá or Soleares Most likely derived from 'soledad', meaning loneliness, has a slower pace, and is profound in nature. The singing of this form is one of the 'cante jondo' (deep song). Soleá por Bulerías Sometimes referred to as just Soleá, a bit confusing. This is a cross between Soleares en Bulerías: faster than Soleares and slower than Bulerías, less deep than Soleares and more serious than Bulerías. A very interesting and dynamic form. Seguiryias One could argue over this, but the compas of Seguiryias (sometime written slightly

different) is sort of a twelve count compás in reverse. It is a very distinct form though, the basic accents are usually very clearly marked, while there is far less going on in between these accents, as compared to Bulerías or Soleares. This makes it sound as if it is a lot slower than Soleares, while in fact the tempo may be higher, nevertheless giving a more tranquil impression. Some people say the Seguiryias has five counts, but they are being silly: they only count the accents, and think of them as counts, but counts are regular by definition, these accents are not. It is however an easy way to learn and remember the rhythm, by sort of saying it. It goes something like this: (and)-one-and-two-and-three-and-a-four-and-a-five Keep the intervals between the syllables regular, emphasize the actual counts and repeat. You will find the same 3-3-2-2-2 feeling as in Bulerías, but in reverse: it's 2-2-2-3-3. The seguiryias is derived from the 'Tona', an ancient, a capella form of flamenco. Until today, there exists a musical form in India with the same compás as Seguiryias.

Still more forms in flamenco As you know by know, there are a lot of forms within flamenco. To clarify what I mean by form in this context, it is easiest to make a comparison with standard western pop music. This of course includes a lot of different types of music, but two "forms" within all of pop music, equivalent to "forms" in flamenco would be "ballads" and non-ballads. There are many different ways to classify forms in flamenco, one common way is to take into account the level of seriousness or cheerfulness: there are so called "cante chico" (small songs) and "cante jondo" (deep, profound songs). Another way is to look at the rhythms involved, and the list below is an attempt at this classification.

Forms with a measure of three counts Fandangos and Sevillanas These forms most likely originate in Andalucía from before the Mores. There is anecdotal evidence that dances with the same name were performed before some Roman rulers during the Roman occupation way before the Mores got there. Also, almost every village has it's own version of Fandangos, while the other forms in flamenco tend to have sort of one 'home town' where it originates. Some the these versions of Fandangos incorporate clearly non-flamenco instruments like tambourins and violins. Finally, these are the only forms with one well defined structure of music, singing and dance. The Fandangos less so than the Sevillanas (there is even a 'jondo' version of the Fandangos, not so of the Sevillanas), but the principal is the same. The structures are very similar in a way, the Fandangos is basically a scaled up version of the Sevillanas. The Sevillanas, as its name suggests, comes from Sevilla, and is very popular in the south of Spain (somewhat less so

in the rest of Spain). You can actually find the youth dancing to modernized Sevillanas in the local disco.

Forms with a measure of four counts All these forms most likely originated out of the cultural exchange between Spain and South America when the Spaniards went over there: they brought these Latin rhythms back to Spain, and the Gypsies made their own versions of it. These kind of forms are called "cantes de ida y vuelta" (songs that went back and forth). Rumba This is probably the most widely known form outside of flamenco. It is a popular, lighthearted form, with a wide range of variations, going from the "Rumba flamenca" to the "Gypsy Kings" (this group does almost exclusively Rumbas). It is not performed very often by professional flamenco companies. Tangos and Tientos This Tangos (sometimes called Tangos Flamenca) has very little to do with the Argentinean Tangos except for the four-count measure. It is a more 'flamenco' form then the Rumba: it has a 'tighter' swing and is more serious. The Tientos can be considered to be a slow Tangos, and is often classified as a cante jondo: it is a very serious and profound form. The name is thought to be derived from "tentare", meaning "to touch". Tanguillo Literally: little tangos. It is not so much a "chico" (small, lighthearted) form of the Tangos, but a form in it's own right. This form has survived very well in the flamenco joven movement, and has evolved a lot. By now it has a very particular and sometimes obscure rhythm, the basics of which is a division in triplets of every count. Characteristic is the way these triplets are pushed and pulled in the rhythm and the sense of multiple rhythms being played at the same time (something like "3 over 4", for those who know what I am talking about).

'Free' forms There is a whole class of forms know as "cantes libre" (free songs). "Free" in this context applies to the tempo, meaning that the tempo may vary. These forms are essentially slow (and free) versions of the Fandangos. The classic example would be the Fandangos Grande or Fandangos Naturale. The rhythm and harmonic structure are basically the same as Fandangos, but there is a lot of liberty taken as far as the tempo is concerned, almost beyond recognition. Other forms of this class are the Granaina (from Granada) and the Malagueña (from Malaga). All these are profound in character similar to the cantes jondo.