In flamenco, the emotional aspect
is more important that the aesthetic dimension, which is why
the understanding of this art form depends on the listener's
sensitivity. What is most important, is the artist's ability
to reach the audience and arouse emotion. In fact, the singing
begins with a pitiful lament, known as quejío, which has the
purpose of allowing the singer to modulate his/her voice,
and of preparing the listeners emotionally.
In flamenco, there are a dozen forms that are called palos.
Each of them has its own distinct measure and meter and, in
certain cases, their places of origin also set them apart.
In turn, each of these palos has several variations.
| Basic
cantes (styles or forms of song) |
| Romances |
Tonás
Martinetes
Carceleras
Deblas |
Seguiriyas
Livianas
Serranas |
Soleares
Bulerías
Cañas
Polos
Peteneras |
Tangos
Tientos
Tanguillos
Marianas |
Cantiñas
Alegrías
Mirabrás
Romeras
Caracoles |
| Styles, or forms, proceeding from the fandango |
Fandangos de Huelva
Locales
Personales |
De Málaga
Malagueñas
Rondeñas
Jaberas
Verdiales |
De Levante
Granaínas
Mineras
Cartageneras
Tarantas
Tarantos |
| Aflamencado styles (lit. “flamencoised”; that is, styles arising from folk tradition
or popular culture that experienced changes as a result
of the influence of flamenco) |
De ida y vuelta (linked to migration to Latin America)
Guajiras
Rumbas
Milongas
Vidalitas
Colombianas |
With Andalusian origins
Bamberas
Villancicos
Saetas
Sevillanas |
With different origins
Farruca
Garrotín
Zambra |
 Continue reading:
How can yo become initiated in flamenco?
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