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Sing with a couple of three or four octosyllable verses with consonant or asonant rhyme. Its origin may be in the 19th century, as a song that accompanied a dance called jaleo. However, little by little it became a song with its own entity. The first reference that we have of this style is that of the Andonda, cantaora from Triana who has gone down in history for this task. From this it is deduced that soleá is a song of Triana origin.. However, its expansion is rapid. A gypsy named Paula leaves with her entire family to Alcalá de Guadaira, founding there the saga of the Fatties. All these people brought soleá singing from Triana, but in the land of the Virgen del Águila he amassed a new native style that lasts to this day and of which its greatest representative, according to Antonio Mairena, It's Joaquín from Paula, although it is obligatory to also talk about Juan Talega and Manolito de María. In a similar way soleá also arrives in Jerez, where Antonio Frijones creates another style of his own, and to Cadiz, where the wealth of the sun would force us to mention countless artists, among which the Mellizo stands out, Paquirri el Guanté and Curro Durse. A separate case is that of Utrera. A woman from Jerez named Mercé la Serneta arrives to this very gypsy town in Seville to marry the father of the Álvarez Quintero family for the second time.. There this gypsy develops her soleá singing and Rosario la del Colorao and the Perrate take their reference from her., that end up creating style in the town. It is the same procedure as that of Lebrija, where Juaniquín from Jerez arrives with another very notable modality. Other towns with their own soleá are Marchena: that of Aunt Gilica- and Córdoba: Onofre, which takes reference from the Triana style of Ramón el Ollero-. It is one of the richest styles of flamenco today., It is played in ¾ and can be accompanied by the guitar in modal tones both above and in the middle..

Cante structured in a copla similar to the classic Castilian seguidilla, that is to say, the one formed by four or seven verses of which in both cases are heptasyllables and free the first and the third and pentasyllables and assonants the other two. The Sevillanas, They are the archetype of the folk song and always had the purpose of accompanying dance. It is made up of four couplets, each of which has a different choreography. Within the Sevillanas there are classifications: bowling alleys, pens, biblical, sailors, sprinklers, liturgical, of fair, to listen… La Niña de los Peines has interesting recordings about ancient styles, while the Toronjo Brothers and the Reyes Brothers can be considered the promoters of this style..

Serranas singing has not been able to be geographically located by experts yet.. Many think it comes from Córdoba, but this is nothing more than a hypothesis. It is a couplet of four rhyming verses., the first and third heptasyllables and the second and fourth pentasyllables. It is absolutely related to the seguiriya, since it follows the same rhythmic structure, although the guitar accompaniment is done on top, in my tone, instead of through. It is known that one of its first interpreters was Silverio Franconetti and, posteriorly, the Owl, Tenazas and Antonio Rengel from Huelva. His lyrics often refer to banditry., hence the name serrana, That is why it is not surprising that this song was already done in the 19th century.. Its structure is very rigid, since it begins with a light temper, the entire mountain range itself is executed and, finally, is finished in various ways: the most widespread is María Borrico's seguiriya, but it is also done with Pepe de la Matrona's macho or even with a cante abandolao.

Song usually composed of four verses, the first two and the last hexasyllables and the third hendecasyllable divided into hemistichs of five and six syllables. There are also three verses. Its origin, although uncertain, It must be dated to the very genesis of flamenco, because there is evidence that it was sung as early as the 18th century, although, undoubtedly, That original seguiriya that we are told about in numerous writings would have little to do with the one we know today.. It is par excellence the cante de la pena and presents a very extensive stylistic variety.. The accentuation of its beat has led many to confusion, thinking that it was an amalgam compass. It is actually a 12/8 in which silences play an important role. It is always accompanied by means of modal tones, although certain personal styles present slight support in major chords, These thirds being known as “finished”, due to its similarity with the cabal. Its main creation center is Jerez de la Frontera, Where are Paco la Luz from?, Manuel Molina, Crazy Mateo, Maria Borrico, Juanichi the Manager or Joaquin Lacherna. However, It is also legal to place this song in Cádiz: the Twin, Henry the Fat, Durse Job- and Seville: Caganchos, Pelaos, Colorao bottle-.

This song is performed throughout Andalusia during the Holy Week processions.. It is not really a solid independent style, but, using a lyric alluding to the passion of Christ, a song by the tonás group is performed: seguiriya, hammer, trunks, jailer- and is decorated with a greater number of melismas, although the main outline of the melody remains intact. The word saeta comes from the first songs made by the brothers of Mortal Sin and those of Aurora back in the 18th century., but as a popular song it was born around 1840, highlighting the old Cordoba, the Puente Genil barracks or the Samaritan of Castro del Río. It could have been Enrique el Mellizo who sang for the first time before a processional image in the Cádiz neighborhood of Santa María, but there is no written record of this. What is certain is that a few years later the saeta would reach its splendor in the voices of El Gloria, Manuel Centeno, Manuel Torre, The Girl with the Combs, Manuel Vallejo and, above all, the Alfalfa Girl.

Song of folkloric origin with a couplet of four verses, generally hexasyllabic.. It is of Latin American origin and became popular in Andalusia during the time of variety shows., moment in which flamenco singers adapt it to the times of tango. One of the first to record the rumba was La Niña de los Peines. Subsequently, two other schools of this suit have emerged., one in Catalonia: Catalan rumba- and another in Madrid: Broken Spout-. Pescaílla and Peret are the main representatives of this style in Barcelona, while Manzanita is the best-known rumbero in the capital of Spain.

Sing with a copla of four eight-syllable verses, almost always with assonant rhyme in the pairs. It is a cantiña for dancing that had its origin in Sanlúcar de Barrameda at the hands of Romero el Tito. It is danced in a similar way to the alegrías, because it has the same time signature, but it differs from them in the melody.

See gypsy corrido/ In recent times Antonio Mairena called romances to some bulerías al-cocha songs accompanied by the guitar on top that always followed the same melodic structure and that, according to the aforementioned singer, formerly performed by the Mellizos and Chiclanita, among others.

It does not have much importance as an autonomous stick, Well, it is nothing more than a version of taranta created by Antonio Piñana from Murcia., that has only been practiced by him.

Sing with a couplet of four eight-syllable verses that when sung generally become six by repetition of one of them and the addition of another unrelated to the couplet.. It is one of the most curious styles of flamenco.. Its history is uncertain, although there is consensus that her name comes from a singer born in Paterna de Rivera (Cadiz), known as La Petenera. It is attached to a certain superstition, since his first lyrics were about burials and funerals, and the majority of gypsies still do not accept it. It is a very ancient song, even coming from the so-called mourners, but its flamenco development did not occur until the end of the 19th century., when Medina the Elder created what is now called girl petenera. Posteriorly, The Girl of the Combs created a more ornate and difficult version that is known today as large petenera. It is accompanied from above and its beat is relatively free, because in some parts it is subject to a 6/8.

It is a song that does not adjust to any specific beat., but it usually borrows well the structure of the tona, well even the bulería por soleá. It was used to put children to sleep.

Sing with a copla of four or five eight-syllable verses that belongs to the Levante group. Its origin is not clear because the discography is so confusing that it has classified diametrically opposed songs as Murcian.. Although it is a style from the Cartagena area, has an important reflection in Almería, where José Sorroche interprets it with mastery.

It probably has its origin in forges or blacksmiths.. Sing with a copla of four octosyllabic verses that is considered a modality of the toná, like the jailer or the debla, differentiating from them both by the lyrics and by a certain type of melody that always ends in major keys.. It is usually a sad style and does not have guitar accompaniment, as happens with the entire group of tonás, although in this case it is usually supported by the percussion of a mallet on an anvil.

Sing with a couple of four or five octosyllable verses with cross rhyme assonant or consignant, which generally become six by repetition of the first or third. Basic trunk of Levante songs and from the old Malaga fandangos. It became a flamenco style in the first half of the 19th century.. It is not a song to dance to and it is very rich from a melodic point of view.. There are various types of malagueñas depending on their creators., coming from both the province of Malaga, as others like Cádiz. Enrique El Mellizo must be highlighted in this suit., Antonio Chacon, LaTrini, The Pena, La Peñaranda, Baldomero Pacheco, The Little Person or Gayarrito, among many others. It is accompanied by the guitar on top and it is a song “optional”. On many occasions it is finished with a fandango abandolao.

Cartagena's own taranta modality that has a drop to minor keys. has been interpreted, above all, by Pencho Cros, Encarnacion Fernandez, Antonio Piñana and Juan Valderrama.

Sing with a copla of five octosyllabic verses that generally rhyme in the first consonant, third and fifth, and which when sung are sometimes converted into six by repetition of one of the first two. It is from the group of Levante songs and, like the malagueña, takes its structure from fandango. Most experts attribute its creation to Don Antonio Chacón, who was able to base his composition on the melody of the malagueña and spent a long time in Granada towards 1890. It is sung freely and is accompanied by the guitar in B due to its high tessitura.. Great interpreters of this style have been Manuel Vallejo, Marchena, Enrique Morente or Naranjito de Triana.

Gypsy dance of non-Andalusian origin but practiced especially in Seville. Later the song emerges. It is believed to come from Asturias or the ancient kingdom of León, where the 'garrotiadas' were done, and then he passed through Catalonia, where it was absorbed by the gypsies of the area. The dancer Faíco announced it, while in relation to singing we must mention the Niña de los Peines, who made a great version of this style. It has a tango rhythm and the lyrics are usually simple in content..

Cante created by Juan Peña el Lebrijano that is based on bulería. It has not been welcomed by more singers, so you can hardly talk about it being an autonomous stick. However, yes it is true that it has different nuances.

Farruco was the name with which the Andalusians called the Galicians, which is where this song comes from, with a couplet of four octosyllabic verses that rhyme second and fourth. The definitive adaptation to flamenco is attributed to Loli, although his great impulse was Manuel Torre. Nowadays you can hear the farruca on few occasions, except when accompanying the dance, a dance created by Faíco that only men usually perform. It settles in minor tones and follows the beat of the tanguillo.

Apparently, The Huelva fandango is born in Alosno, and from there it is distributed through the Andévalo, the Sierra and the capital. From there, an infinite number of different styles have been studied., highlighting four leading artists in its execution: Jose Rebollo, Paco Isidro, Antonio Rengel and Paco Toronjo. Among the best known styles are those of Alosno, the shockers, those of Almonaster, those of Santa Eulalia, those of Cerro del Andévalo, those of Encinasola, those of Calañas and those of Cabezas Rubias.

For some theorists, This is the most primitive song that exists. It is structured on a beat of 3/4 and has a great tonal variety. They are couplets of five octosyllabic verses that usually become six by repetition of one of them..

Apparently, The Huelva fandango is born in Alosno, and from there it is distributed through the Andévalo, the Sierra and the capital. From there, an infinite number of different styles have been studied., highlighting four leading artists in its execution: Jose Rebollo, Paco Isidro, Antonio Rengel and Paco Toronjo.

Among the best known styles are those of Alosno, the shockers, those of Almonaster, those of Santa Eulalia, those of Cerro del Andévalo, those of Encinasola, those of Calañas and those of Cabezas Rubias.

Sing with copla, in general, of three or four eight-syllable verses, of a festive and boisterous nature whose etymological origin could be in the word mockery, and from there “burlery”.

It is dated to the end of the 19th century and is born from the soleá, stick of the one who takes the beat to increase the rhythm. Within this song two variants can be distinguished: bulerías to dance, that present a large multitude of styles, and the bulerías to the blow, created more for listening and also called bulerías por soleá, palo that for some experts is prior to the bulería itself.

Many attribute its creation to Loco Mateo and Gloria, who could well have been the fathers of bulería por soleá, but the great promoters of this song were the Sevillians Manuel Vallejo and La Niña de los Peines.

Nevertheless, bulería has a wide variety of styles, like those of Cádiz : in major tones, those of Jerez : modal tones- or the cuplés : minor tones-, These variants being masterfully interpreted by the Perla de Cádiz, Jerez earthquake and Fernanda de Utrera, respectively.

Cante with copla of four octosyllabic verses that belongs to the group of cantiñas. It was born as a dance song and is made up of a succession of couplets between which the so-called juguetillos are usually interspersed.. It is an eminently Cadiz style, although a very peculiar version is found in Córdoba.. It is related to the old jota of Cádiz. The dance is difficult to perform and is characterized by having very prominent brushes and a calm part called “silence”. In it the traditional “trititrán”, which according to Chano Lobato was invented by Ignacio Espeleta during a party in which he forgot the letters. As great interpreters of this genre, history has left Aurelio Sellés, Pericón de Cádiz, Fosforito, the Pearl or Shrimp.

Song of gypsy origin, with a couplet of four hexasyllable verses and a chorus. It is one of the greatest styles kept by this ethnic group, although in recent times, singers like Rafael Romero “The Chicken” and Joselero de Morón have not hesitated to interpret it. The reason for this jealousy of the gypsies is because it is a melody typical of their wedding rites and its most popular lyrics refer to the virginity of the bride.. It is usually adapted to the tempos of the soleá por bulerías. They predominate in Seville and Cádiz, but they also occur throughout Andalusia and some areas of Extremadura.

Country singing from Andalusian folklore, What was done during the olive harvest season. It is believed that it is not an exclusively Andalusian song., although its similarity with the toná contradicts this theory. It is a song typical of the province of Jaén and bears great resemblance to the tempera, the thresher and the muleteer.