one interested in flamenco ('afición' a liking for)
A tap, it can refer to a particular footstep by the dancer or a tap on the guitar, but it can also just refer to any tap (ie tapping the table in compás)
the Gypsy wedding song sung in the soleá compás
festive compás of the cantiñas group; one of the cantes chicos
guitar-playing technique that uses solely the thumb
a palo seco
nickname, which Gypsies receive for life
spontaneous outbursts of uncontrolled emotion that a performer may emit
playing the guitar rasgueado, with the fingers of the left hand damping the strings
for the guitarist - cutting corners and rhythm during a falseta, making the dancer's job difficult
repeated meaningless sounds such as 'bababa' in the middle of words
flamenco dancer (male, female), as opposed to 'bailarin', which is any other dancer.
flamenco dance; other (non-flamenco) types are referred to as 'danza'
baile de mantón
a dance with a shawl
balanceo y vaivén
swaying of the body and hips. Balanceo is gentle; vaiven is violent
song form for swings
bata de cola
dress with a train (literally: "gown [of/with] a tail")
"pretty"; in other words, not good flamenco
a dancer's use of the arms
song form; an evolving rhythm that started about a century ago
festive; adjectival form of bulerias
final version of the siguiriya; literally, honest, exact, complete.
prime venue for flamenco in the 19th century
change of key and lightening of tone to end a song
songs that originally came from a religious brotherhood who would go to prayers to the sound of handbells - hence the name, which means "bellringers"
flamenco singer (male, female); other singers are often called a 'cantantes'
flamenco song; other (non-flamenco) songs are cantos
literally, "singing from in front"; singing not done for dancers, often with the singer seated [pa = "por"]
literally, "singing from behind"; singing for dancers, often with the singer standing [pa = "por"]
cantes de ida y vuelta
songs brought back from Latin America
cantes de levante
songs from the eastern province of Grandada, Jaen, Almeria, and Murcia
a song form which started as a street snail-vendor's song in Zarzuela (a popular Spanish form of operetta)
song form derived from the taranta, with a florid vocal line, more "artistic" and decorative than forceful and rough
capotasto or capo, used by guitarists to raise tone of all strings; a mechanical 'barré'
any festive and frivolous song
close of a series of steps or a line of song
flattery, often with something false in it
a short form of estribillo
a measure or bar; flamencos use the word to mean both (a) the name of the type of twelve-count and (b) the rhythmic skill of a performer
cross-rhythms; including syncopation and rubato
verse of cante flamenco, as against the cuple of a (non-flamenco) canto
a way of performing that shows impetuosity or daring (lit. "courage")
ballad, or also a romance
the way the singer ends a musical phrase
Phoenician and Roman form of castanets
a flamenco troupe
a form of toná. It is an old song form, now seldom used
the way the singer ends a phrase
literally "tear, rip"; wilderness, heartbreak
technically, a point in the dance that marks the end of a section. In fact, a high point, a climax in the dance at which the dancer pauses and the audience applauds
desplazamiento: see marcar
the neck or fingerboard of the guitar
Caló (Romany or Gypsi) word for "sorrows"
literally, "spirit" of "demon"; suggesting possession. Flamencos may prefer the word ángel or el age
literally "broom"; the section of a dance in which the bailaor/a does an extended zapateados
a graceful and balletic form of the old bolero; dance in 3/4 time popular in the last century
look, appearance by the stance, positioning, form, and dress
short phrases sung repeatedly at the end of a song; the last section of a dance done with singing, where the cantaor/a sings while the baile is danced; see 'coletilla'
solo passages on the guitar, short melodies played at the start and between verses of a song
an old family of song forms; thought to be of Moorish in origin; very popular in the early/mid 20th century
folk song adopted from northern Spain (Galicia), now above all a dance; once "only performed by men"
a star; a performer who has achieved a name and fame
Caló (Gypsy or Romany) word for non-Gypsy (compare payo)
literally a "hook"; by extension, anything that gets to you, that "hooks" you
literally "claws"; guts, force
song adopted from northern Spain (Asturias)
tapping the face of the guitar with the second and/or third finger while playing
form of Fandango in free rhythm that in many ways stands apart, from Granada
an ida y vuelta song; now meaning "girl", word from Yucateca, a native language of Cuba
joking in bad taste, rustic trickiness
ir con tiento
to move slowly
form of Fandango from Malaga
to stimulate a performer, to encourage with words and/or palmas
vocal encouragement given to performers, when the audience calls out such phrases as ezo!, arsa!, olé!, toma!, vamo
"spree" when a group enjoys themselves doing flamenco
a cry (such as ay) used by the singer to find his pitch or simply put into the middle of a song
the Gypsy pronunciation on hondo (deep); formerly applied to the song forms, but now used often to describe a manner of singing
a lively flamenco party, often with only cante a golpe.
copla of a song taken at its literary value; section of a dance when the cantaor/a is singing the lyrics, doing the tercios
in guitar, sounding the note with the fingers of the left hand only
literally "call"; the opening of a dance
usually a three-line verse used as remate to the siguiriya; usually in a major key
song form characterized by its sad, elegiac tone. The city and province of Malaga are considered the home of the flamenco fandango
the exit made off the stage by the bailaor(a)s
to mark time, done by bailaor(a)s, usually while the cantaor(a) is singing; 'marcajes'; see desplazamientos
songs of the blacksmith, can be performed to the rhythm of hammers beating an anvil; in compás similar to the siguiriya
series of notes sung on a single syllable of the coplas. To the ear unaccustomed to it, the sound may seem like unmusical wailing
a type of folk song from the Río de la Plata area of Argentina, where it is still very popular
best described as watered-down tarantas
refers to the asymmetry of flamenco; e.g., in dance, if the arms are going one way the face will look the other
flamenco name for castanets
hand clapping. It is intricate art, requiring skill and knowledge of compas.
percussive effect performed with the fingers of the right hand on the left palm, resulting in a sharp sound; also called palmas claras and palmas agudas
muted clapping done with cupped hands (often by the singer); also called palmas graves
performer of palmas
song form; literally, a suit of cards. Palos fall into two main categories: those done in free rhythm (sin compás) and those done in rhythm (con compás)
step or a series of steps
sometimes thought to be the Calo (Romany or Gypsy) word for non-Gypsy, but in fact prison slang for an easy mark, a sucker. The Calo word for non-Gypsy is gachó
literally, "nip, pinch"; that quality (usually in a dancer) that turns you on
Legendary or real, la Petenera was a girl from Cadiz, notorious for her beauty and hardness of heart. A 19th century writer mentions hearing 'peteneras' sung in a voice that conveyed "inexplicable sadness."
to pluck on a guitar
on guitar - in the hand position for the key of E
on guitar - in the hand position for the key of A
steps and movements that are not part of the zapateado, including 'paseo' (walking steps) and 'mudanzas' (more complicated movements, lit. "variations")
on guitar, a drumroll effect created by using the backs of the fingers, i.e., the fingernails, striking the strings one after another (held back by the thumb)
way of ending a song, either by raising a pitch, changing to the major, or simply speeding up, in a strong decisive manner
Sacromonte form of the alboreá (wedding song)
songs (ballads) in a form of toná, now when done with a guitar, it is usually played in a soleá rhythm
songs of a girl traveling on a pilgrimage
a song form influenced by Cuban rumba
a hillside in Granada with cave dwellings, in which Gypsies used to live. It was one of the heartlands of Gypsy flamenco, with a style all its own
start of the baile (literally, going or coming out)
a song of passionate devotion to Christ or the Virgin, often aflamencao
non-flamenco song that has been flamencoized in various ways due to its popularity, including the hand and arm movements of the dancers
heart of cante jondo (deep song). It expresses anguish, lament and despair, and as been described as an outcry against fate and the quintessence of tragic song
As song, the soleá lies at the heart of flamenco, together with siguiriyas and toná. As dance, it stands alone—at least for women
all sound accompanying the flamenco song: guitar, palmas (clapping), pitas (finger snappin), knuckle tapping
flamenco slang for guitar
literally, "droning"; it is applied to performers being what-jazz-players-call "in the groove"
the venue for a tourist-oriented flamenco show
literally, "boards"; the stage on which the dance is performed; tiene tablas means "to be an experienced performer"
probably the oldest flamenco song form in a simple rhythm of 2/4 time, as reflected in the time beaten by the palmeros; not the same as "el tango argentino"
songs of Cadiz; festive, light, sometimes mocking, and always suitable for Carnival
the face of the guitar
a mining song of free rhythm and by far the hardest to sing, demanding tragic intensity as well as unusual control, both vocal and artistic, in the melismas
tuning or temperament
songs of the farm - harvesting and threshing songs
a short section (musical phrase, line of verse); lit. "third"
a song form, similar to the tango
guitarist; from "tocar" (to play)
oldest flamenco, gypsy-Andalusian song, probably from romances or corridas
torsión y convulsión
stages, usually in the soleá, wherein the dancer reaches a more or less ecstatic state
on guitar, playing high notes with the fingers (or bass notes with the thumb) in quick succession (back and forth) to make a continuous sound
the traditional Gypsy quarter of Sevilla, now yuppified
repeated meaningless sounds uttered during the song, such as jajaja, but unlike babeo, not within a word
Andalucian folk song and dance in fast 3/8 time (non-flamenco)
hoarse voice like that of El Fillo, a 19th-century singer; this quality is also known as rajo
(a) a form of Sacromonte tangos, (b) a noisy fiesta originally of the Moors
the form of "tap" dancing peculiar to flamenco; from zapato [shoe]
an old song and dance in 2/4 time (not flamenco), revived by Federico Garcia Lorca; also called 'zarongo'
Glossary of flamenco terms Wikipedia
This is a glossary of terms that relate to flamenco arts.