_TERMINE_RELATIVO_AL_FLAMENCO_(SPAGNOLO)
_SPIEGAZIONE_DEL_TERMINE_(INGLESE)
A PALO SECO
Unaccompanied singing
AFICIONADO
An enthusiast follower, fan, amateur.
AIRE
Air. It describes the expressiveness, atmosphere or general character of a flamenco performance.
ALBORE
(Song and dance form) Albores is of pure Gypsy origin, traditionally sung only at weddings, being unlucky on other occasions. It is a gypsy wedding song performed to the compas of bulerias. Alba means daybreak or dawn. The name indicates that the songs were either literally sung at dawn, or symbolically represented the dawning of a new life.  The word alba is also defined as a 'troubadour song or poem' of lovers' parting at dawn. Troubadours were 11th- and 12th-century poet-musicians of southern France. The German counterparts of the troubadours, the 'minnesingers', also used the form, calling it Tagelied (day song).
ALBORES
(Song and dance form) Albores is of pure Gypsy origin, traditionally sung only at weddings, being unlucky on other occasions. It is a gypsy wedding song performed to the compas of bulerias. Alba means daybreak or dawn. The name indicates that the songs were either literally sung at dawn, or symbolically represented the dawning of a new life.  The word alba is also defined as a 'troubadour song or poem' of lovers' parting at dawn. Troubadours were 11th- and 12th-century poet-musicians of southern France. The German counterparts of the troubadours, the 'minnesingers', also used the form, calling it Tagelied (day song).
ALEGRIA
(Song and dance form) Alegria means happiness or merriment. Developed in Cadiz, this form is derived from, and has the same compas as Soleares. Alegrias is a lively dance form normally played in the key of A major.
ALEGRIA POR ROSA
Also known simply as Rosas. This is Alegrias played in the key of E Major. In contrast to the brisk, happy sounding Alegrias in A Major, Alegrias por Rosas are slower and more melancholy.
ALEGRIAS
(Song and dance form) Alegria means happiness or merriment. Developed in Cadiz, this form is derived from, and has the same compas as Soleares. Alegrias is a lively dance form normally played in the key of A major.
ALEGRIAS POR ROSAS
Also known simply as Rosas. This is Alegrias played in the key of E Major. In contrast to the brisk, happy sounding Alegrias in A Major, Alegrias por Rosas are slower and more melancholy.
ALZAPUA
A right hand playing technique. The thumb is used to play down and up strokes across one or a group of strings in combination with apoyando single notes. It's possible that this technique developed as an imitation of the way the Arabic Ud was played with a wooden plectrum.
AMBIENTE
Atmosphere or Ambience
ANACRUSIS
In the dance:  This is one or more steps which may be heard just before the main accent of a phrase, such as in a 4 step redoble. We can say an anacrusis is an embellishment. For example, if the last step of a redoble lands on beat 1 of a Farruca (the accented downbeat), the preceding 3 steps (the triplet) is an ANACRUSIS.
ANULAR
Ring finger. Right hand symbol - lower case 'a'.
APAGADO
A muting technique on the guitar used to cut the sound short. It may be done with either hand. With the left hand the little finger is used. With the right hand the strings are stopped using the palm. Also referred to as PARADO.
APOYANDO
To play apoyando means to play notes using the classical style 'rest stroke'.
ARO
Side of the guitar
ARPEGGIO
A broken chord
ARRASTRE
Guitar playing technique. Dragging the ring finger (a) up the strings from treble to bass.
BAILAOR
Male dancer
BAILAORA
Female dancer
BAILE
Dance
BAMBERA
Andalucian folk song of medieval tradition which may be Celtic in origin. The name is taken from the words Bamba (swing: noun), Bambolear (swinging) and Bamboleo (to swing). This is one of the most obscure flamenco song forms and is only worth mentioning because it has been sung by such artists as Nina de los Peines and Camaron.
BAMBERAS
Andalucian folk song of medieval tradition which may be Celtic in origin. The name is taken from the words Bamba (swing: noun), Bambolear (swinging) and Bamboleo (to swing). This is one of the most obscure flamenco song forms and is only worth mentioning because it has been sung by such artists as Nina de los Peines and Camaron.
BOCA
Mouth. The sound hole of the guitar.
BOLERO
Although not considered Flamenco, the Bolero played an important part in the evolution of some of the more familiar dance forms. The word bolero comes from the verb volar (to fly). Jumps and leaps were an integral part of the dance. It developed into a set dance from a combination of folk and classical styles as well as the court dances of the late l8th century. One of the folk styles that influenced it was the old Fandangos. Another was the Siguidillas Manchegas, which also influenced the development of the Sevillanas.  It goes without saying that Maurice Ravel was sufficiently inspired by the Bolero to sit down and compose his famous orchestral version. The Flamenco composition Los Panaderos (the bread maker), by Esteban de Sanlucar, is a form of Bolero and has been recorded by Paco de Lucia and Juan Serrano. Carlos Montoya has also recorded a Bolero.
BULERIA
(Song and dance form) The words bulla (noise) and burla (to mock) both apply to the character of Bulerias, but no one really knows how the name came about. It is believed to have evolved as a faster version of Alegrias in Jerez. Full of fun and frivolity, Bulerias is considered the ultimate expression for the skills of both dancer and guitarist.  Although the compas is unvarying within its 12 beat structure, Bulerias is rhythmically very flexible, and open to sudden bursts of spontaneity and melodic variations. It occupies a central position in any dance or guitar repertoire and is usually reserved as the flashy final number in performances. Alegrias and Solea will often build up in speed and change into a Bulerias to finish off. This is referred to as ending the dance por Bulerias.
BULERIA AL GOLPE
A style of Bulerias that highlights the golpe (taps).
BULERIA POR SOLEA
A slower variation of Bulerias.
BULERIAS
(Song and dance form) The words bulla (noise) and burla (to mock) both apply to the character of Bulerias, but no one really knows how the name came about. It is believed to have evolved as a faster version of Alegrias in Jerez. Full of fun and frivolity, Bulerias is considered the ultimate expression for the skills of both dancer and guitarist.  Although the compas is unvarying within its 12 beat structure, Bulerias is rhythmically very flexible, and open to sudden bursts of spontaneity and melodic variations. It occupies a central position in any dance or guitar repertoire and is usually reserved as the flashy final number in performances. Alegrias and Solea will often build up in speed and change into a Bulerias to finish off. This is referred to as ending the dance por Bulerias.
BULERIAS AL GOLPE
A style of Bulerias that highlights the golpe (taps).
CABEZA
Head. The head of the guitar.
CAJON
Flamenco rhythm box. This is a wooden box that looks something like a small tea chest with a round sound hole cut out of the rear face. A performer sits on this and reaches down to beat on the front face.
CALES
Gypsy word for Gypsies
CALO
Spanish Gypsy language
CAMBIO
Change.
CAMPANA
Bells. A musical section in Zapateado, which imitates the sound of bells.
CAMPANAS
Bells. A musical section in Zapateado, which imitates the sound of bells.
CAMPANILLERO
Bell ringers. Traditional these are songs sung during religious processions that begin at dawn. They are accompanied by the ringing of small bells. The tradition of bell ringing is also connected with religious activities in monasteries. Campanilleros are not really flamenco but are nonetheless still sung and played by some artists as part of their repertoire.
CAMPANILLEROS
Bell ringers. Traditional these are songs sung during religious processions that begin at dawn. They are accompanied by the ringing of small bells. The tradition of bell ringing is also connected with religious activities in monasteries. Campanilleros are not really flamenco but are nonetheless still sung and played by some artists as part of their repertoire.
CANA
(SONG AND DANCE FORM. CANTE JONDO) A song form with exactly the same compas and accompaniment as Solea. The only difference is it's distinct Ay Ay Aye's and the melodic line. It's significance lies in the widely accepted theory that this early song form helped give birth to Solea. True to the tradition of inconsistency in flamenco, there are those who believe that the Caa came after Solea.
CANTAOR
Singer
CANTE
Singing
CANTE CHICO
Means 'little song'. This is the third of the three general classifications of flamenco songs. Lighthearted, festive or folkloric style songs and dances.
CANTE FLAMENCO
Flamenco song
CANTE GRANDE
Means 'important song'. This is the first of the three general classifications of flamenco songs. These are the so-called basic songs, considered the earliest forms of flamenco. By nature, they are also Cante Jondo.
CANTE INTERMEDIO
Means 'middle song'. This is the second of the three general classifications of flamenco songs. It is an arbitrary 'middle' classification between Grande and Chico. Some would argue that this somewhat grey area is an academic fabrication and has no real meaning in the true scheme of things. This may be so, but it does make flamenco forms a little easier to understand.
CANTE JONDO
Deep song. A style of singing. To the untrained ear, the sounds of Cante Jondo seem harsh and primitive and are not everybody's cup of tea to be sure. The powerful emotion expressed by a singer at close range is frightening. I, for one, have never gotten used to it, despite it's important role in flamenco, and prefer the more lyrical and melodic song forms. Jondo style songs are passionate and profound and can be found in both 'Grande' and 'Intermedio' classifications.
CANTINA
1) A family of song forms from Cadiz which include Cantias, Alegrias, Romeras, Mirabras, Rosas and Caracoles. According to Donn Pohren, the word was originally used to describe medieval songs from Galicia, in Northern Spain. Today, it's meaning is extended to signify popular song. Structurally, Cantias are the same as Solea, except for subdued accent on the count of 12. Alegrias is the only one that has a silencio section. Depending on who you speak to, some consider this classification of Alegrias style songs outdated and meaningless.  2) A form of Alegrias played in the key of C.
CANTINAS
1) A family of song forms from Cadiz which include Cantias, Alegrias, Romeras, Mirabras, Rosas and Caracoles. According to Donn Pohren, the word was originally used to describe medieval songs from Galicia, in Northern Spain. Today, it's meaning is extended to signify popular song. Structurally, Cantias are the same as Solea, except for subdued accent on the count of 12. Alegrias is the only one that has a silencio section. Depending on who you speak to, some consider this classification of Alegrias style songs outdated and meaningless.  2) A form of Alegrias played in the key of C.
CAPO
Abbreviation of Capotasto. Italian word. (Capo = at the beginning, Tasto = guitar finger board). A transposing device fixed across the strings to raise the pitch. Traditionally, its purpose is to pitch the guitar to a singers voice.
CARACOLE
(Song and dance form) One of the group of songs known as Cantias. Caracoles means snails, which gives an indication of its lighthearted nature. It was developed in Madrid in the 19th century. It is rhythmically identical to Alegrias, the only difference being the key (C Major), different chord sequences and nonsense verses.
CARACOLES
(Song and dance form) One of the group of songs known as Cantias. Caracoles means snails, which gives an indication of its lighthearted nature. It was developed in Madrid in the 19th century. It is rhythmically identical to Alegrias, the only difference being the key (C Major), different chord sequences and nonsense verses.
CARCELERA
One of the oldest flamenco song forms originating in the prisons (carceles) of Andalucia. The cante describe the singer's loss and freedom and jail life.
CARCELERAS
One of the oldest flamenco song forms originating in the prisons (carceles) of Andalucia. The cante describe the singer's loss and freedom and jail life.   See also TONAS
CARLOS MONTOYA (1903-1993)
Carlos Montoya was a gypsy born in Madrid. Around 1940 he became an American citizen and went on to record a multitude of records, gaining himself a huge following the world over. He began playing when he was 8 years old. His famous uncle Ramon refused to teach him so he took lessons from the local barber for 3 years. At the age of 14 he started playing in the local Caf Cantantes.    Throughout his career he was highly criticized for the roughness of his playing and the apparent liberty he took with compas and speed variations . He was well aware that aficionados rarely appreciated his music. The usual complaints were that he used excessive left hand legato, his playing was choppy and he used too much tremolo. But as he quite rightly pointed out in his own defense, (in conversation with Brook Zern after a concert) I have filled the Houston Astrodome. No other flamenco artist will ever do that. He said proudly that he owed absolutely nothing to his uncle and simply refused to assimilate any of Ramon's immeasurable contributions to flamenco.   It is easy to criticize the man, but the fact remains that Carlos Montoya played a significant role in raising international awareness of flamenco.
CARMEN AMAYA
Carmen Amaya was one of the greatest flamenco dancers. In the '40s and '50s, this exotic Gypsy woman won international acclaim performing for such notable people as Roosevelt and Churchill. From the age of four she performed alongside her father in the taverns and music halls of Barcelona. By the time she reached her teens, she was already well known to audiences in Madrid and Paris.     During the 1930's, she traveled the world and performed to enthusiastic audiences everywhere she went. The people of North and South America fell in love with Carmen Amaya-the embodiment of Spanish pride and passion. She went on to make films in Hollywood and appeared on Broadway, often accompanied by the great guitar virtuoso, Sabicas. And though she triumphed on stages all around the world, she always remained true to her Gypsy heritage. Throughout most of her performing life, her huge company was made up almost entirely of her extended family, and they traveled together in the traditional Gypsy way, sharing their luck as well as their hardships. And hardship indeed fell on Carmen Amaya. In 1963 at the age of 50, she died in her native Barcelona of kidney failure.   Adapted from the essay by Robert Withers and Meira Goldberg
CARTAGENERA
(SONG FORM. TOQUE LIBRE) A Fandangos based song taking its name from the area of origin, Cartagena. One of the songs known as Cante de Levante. It is believed to have evolved from the Tarantas.
CASTANET
A pair of wooden plates held together in one hand, which provide rhythmic accompaniment during a dance. Also called Castanuelas
CASTANETS
A pair of wooden plates held together in one hand, which provide rhythmic accompaniment during a dance. Also called Castanuelas
CEJILLA
The Spanish word for Capo. Cejilla means little eyebrow. The traditional cejilla has a curved top, resembling an eyebrow, to accommodate the wooden tightening peg.
CHUFLA
(Song and dance form) A carefree style of Tanguillos with the emphasis on spontaneity and humor.
CHUFLAS
(Song and dance form) A carefree style of Tanguillos with the emphasis on spontaneity and humor.
CIFRA
Tablature notation
CLAVIJAS
Traditional wooden tuning pegs on the guitar.
CLAVIJEROS
Modern geared machine heads for tuning the guitar.
COLOMBIANA
(Song and dance form) A delightful song form based on the melodies and rhythms of Colombian folk music. This form was brought to prominence by Carmen Amaya and Sabicas. For those who like a good argument, it has been suggested that Colombianas, like Rumba and Guajiras, is a variation on the Argentinean Tango.
COLOMBIANAS
(Song and dance form) A delightful song form based on the melodies and rhythms of Colombian folk music. This form was brought to prominence by Carmen Amaya and Sabicas. For those who like a good argument, it has been suggested that Colombianas, like Rumba and Guajiras, is a variation on the Argentinean Tango.
COMPAS
Rhythm, beat, meter. The basic element of flamenco rhythm. Specifically, Compas is a recurring pattern of accented beats analogous to a bar of music. This dictates the unique rhythmic structure of any given song form.
CONCERT PITCH
The international tuning pitch - For the guitar this is A = 440 oscillations a second. It's amazing how many guitarists refuse to acknowledge that there is such a standard. There is nothing more annoying than to rock up at a rehearsal or performance venue to find that the other guitarist(s) are out of tune for whatever reason. All you can really do sometimes is grit your teeth and whistle, 'Don't worry, be happy'. Attempting to tune your instrument to the non standard pitch while dancers and palmeros are making lots of noise is no fun, especially when you take on the aura of the villain, because you are holding up proceedings while you tune. Life is so unfair.
CONTRA-TIEMPO
Syncopated rhythm. Counter rhythms.
COPLA
A verse from a song. The word colpa is also used to describe the various sections of Sevillanas and Fandangos.
CUADRO
Group.
CUERDA
String. Plural = CUERDAS.
DANZA MORA
(TOQUE LIBRE) Literally means 'Moorish dance'. This form is heavily influenced by the Arabic style of music and dance.     See also ZAMBRA
DE
Of or from. Many artists have stage names which mean something like 'Jack from London'. Paco de Lucia explains that when he young there were so many Pacos in the neighborhood, that the convenient way to tell them apart was to call then after their mother's names. His mother's name was Lucia.     DEBLA See TONAS
DESPLANTE
Dance steps which indicate an approaching break in the dance. A climactic point in the dance which is usually introduced by a llamada.
DIAPASON
Fingerboard of the guitar
ENSAYO
Rehearsal
ENTRADA
Entry or beginning
ESCOBILLA
The word ESCOBA means broom. ESCOBILLA can mean either:   1. Brushing steps 2. Footwork 3. A section of dance in Alegrias or Soleares, in which the dancer improvises around a repetitious musical phrase. 4. A dance step/turn executed with the train of a dress, which imitates the brushing motion of a broom.
ESTUDIO
Study. Exercise.
EXTREMO
The word means last. Designation of the little finger. Right hand symbol - lower case 'e'.
FALSETA
A musical variation played on the guitar
FANDANGO
An ancient Andalucian folk song and dance with roots going back at least as far as the Arab invasion (711AD). It is believed to have derived from the JOTA, a lively paired dance from Aragon in the north. Almost every region of Andalucia has it's own version of fandangos. There are two types. FANDANGO GRANDE (great fandangos) and FANDANGUI LLOS (little fandangos). For general performance, we are mainly interested in the more popular Fandanguillos, FANDANGOS DE HUELVA and VERDIALES, the fandangos of Malaga.
FANDANGO DE HUELVA
(Song and dance form) A popular regional species of Fandangos from the province of Heulva. A lively dance for couples reminiscent of Sevillanas. Like the Sevillanas, copla melodies follow a standard harmonic pattern set within a strict rhythmic structure. Fandangos de Huelva (plural) are also commonly referred to by their generic name, FANDANGUILLOS.
FANDANGO GRANDE
(SONG FORM. CANTE JONDO. TOQUE LIBRE) An abstract song form which evolved as a serious version of the original Fandangos and is sung without compas. This song form may also be referred to as FANDANGOS NATURALES. Most of the toque libre are derived from Fandango Grande.
FANDANGOS
An ancient Andalucian folk song and dance with roots going back at least as far as the Arab invasion (711AD). It is believed to have derived from the JOTA, a lively paired dance from Aragon in the north. Almost every region of Andalucia has it's own version of fandangos. There are two types. FANDANGO GRANDE (great fandangos) and FANDANGUI LLOS (little fandangos). For general performance, we are mainly interested in the more popular Fandanguillos, FANDANGOS DE HUELVA and VERDIALES, the fandangos of Malaga.
FANDANGOS DE HUELVA
(Song and dance form) A popular regional species of Fandangos from the province of Heulva. A lively dance for couples reminiscent of Sevillanas. Like the Sevillanas, copla melodies follow a standard harmonic pattern set within a strict rhythmic structure. Fandangos de Huelva (plural) are also commonly referred to by their generic name, FANDANGUILLOS.
FANDANGUILLO
Little Fandangos. A 'group' name for the regional styles of festive Fandangos. These include Fandango de Huelva, Fandango de Lucena, Fandango de Almeria and so on. Verdiales, which could also be called Fandangos de Malaga by the same naming system, are also Fandaguillos by definition.
FANDANGUILLOS
Little Fandangos. A 'group' name for the regional styles of festive Fandangos. These include Fandango de Huelva, Fandango de Lucena, Fandango de Almeria and so on. Verdiales, which could also be called Fandangos de Malaga by the same naming system, are also Fandaguillos by definition.
FARRUCA
(Song and dance form) A dramatic male dance in 4/4 time. Originally a song from the northern region of Galicia. Andalucian gypsies adopted it and changed it to suit their own tastes. The Farruca is usually played in the key of A minor. Although the rhythm is strong and strictly defined, some passages begin slowly and gradually build up speed, especially in the final stages. Although this form is considered a man's dance, women have also performed it to great effect (dressed in a man's costume of course).   It seems a little strange to me that a dance sometimes referred to as La Farruca, a. very feminine sounding name, should have such a male aura about it. One would think that the masculine name 'El Farruco' would be more appropriate (and logical), but who am I to argue with tradition.
FERIA
Fair
FIESTA
Party
FLAMENCO PURO
Pure flamenco. (whatever that is) A confusing term which supposedly means genuine or traditional flamenco. On the other hand however, the concept of pure flamenco implies interpretations that are old, static and without change. Although it may suit the older aficionados who fondly reminisce about the good old days, the term nevertheless carries with it an unwelcome hint of snobbery. Paco De Lucia puts it like this;  People tend to confuse the pure with the old. The old for me is the art in the museum, and the pure is what the artist feels at the time of playing. Flamenco has too much personality, character and emotive force to stay in the same form all its life. (Guitar International Magazine, April 1976)
FLAMINGO
A pretty pink bird which has absolutely nothing to do with the subject of Flamenco. Other common mis-pronunciations are 'flaminco' and 'flamengo'.
FREE STROKE
A guitar plating technique. Also known as a 'tirando' stroke. After plucking a string, the finger follows through to clear the adjacent lower string.
FUERTES
Hard, or loud.
GALLEGADA
A traditional folk dance in the region of Galicia and Asturuis in the north of Spain. This is not considered flamenco. Sabicas decided to sneak this one into his guitar repertoire with the title Piropo A Galicia Piropo means compliment or flattery. The dance is kept alive in local festivals of the region.
GARROTIN
(Song and dance form) A sensuous and happy song and dance in 2/4 time. Like the Farruca, it originated in Northern Spain. Also like the Farruca, it has slow sensuous sections, sudden stops and starts, and sections which start slow and build up to a furious pace.
GITANA
Spanish name for female Gypsy
GITANO
Spanish name for male Gypsy
GOLPADOR
Tapping plate. Protective plastic sheet attached to the face of the guitar.
GOLPE
The tapping on the top of the guitar with the tip of the 'a' or 'am' fingers. In musical notation, the golpe is represented as a cross or a small square.
GRANADINA
(SONG FORM. TOQUE LIBRE) The word implies 'something from Granada'. The name GRANAINAS, which is simply the Andalucian pronunciation of the same word, is also commonly used. Granadina is normally played in the B Phrygian mode, which is ideal for producing the rich, oriental sounding passages that characterize this introspective flamenco form. MEDIA GRANADINA means 'half Granadina' and relates to the style of cante. For the solo guitarist there is no difference.   GRANDE
GRANADINAS
(SONG FORM. TOQUE LIBRE) The word implies 'something from Granada'. The name GRANAINAS, which is simply the Andalucian pronunciation of the same word, is also commonly used. Granadina is normally played in the B Phrygian mode, which is ideal for producing the rich, oriental sounding passages that characterize this introspective flamenco form. MEDIA GRANADINA means 'half Granadina' and relates to the style of cante. For the solo guitarist there is no difference.
GUAJIRA
(Song and dance form) Originating in Cuba, the Guajiras was brought into Spain in the 16th century by the returning Conquistadors. This cheeky dance form is normally played in the key of A major and notated with alternating measures of 6/8 and 3/4. The 12 beat compas is identical to Bulerias, but much slower. Guajiras is one of the more uplifting flamenco forms and a classy showpiece in any solo guitarist's repertoire.
GUAJIRAS.
(Song and dance form) Originating in Cuba, the Guajiras was brought into Spain in the 16th century by the returning Conquistadors. This cheeky dance form is normally played in the key of A major and notated with alternating measures of 6/8 and 3/4. The 12 beat compas is identical to Bulerias, but much slower. Guajiras is one of the more uplifting flamenco forms and a classy showpiece in any solo guitarist's repertoire.
GUITARRA
Guitar
HUESO
Bridge bone in the saddle of the guitar
IDA
Departure. To take leave. Dance steps that signify an approaching change from one rhythm to another as when a dancer moves out of Alegrias and enters into Bulerias.
INDICE
Index finger. Symbol (right hand)-lower case 'i'.    INTERMEDIO See CANTE INTERMEDIO
JABERA
(SONG FORM) An offshoot of Fandango Grande, it is closely related to the Malaguenas. The Jaberas is supposed to be Toque Libre, without compas and un-danceable. As if to confuse the issue, Carmen Amaya claimed that her grandfather introduced the Jabera as a dance form. She called it a kind of Solea. So be it! Why not throw one more contradiction into the bucket of flamenco mysteries.
JABERAS
(SONG FORM) An offshoot of Fandango Grande, it is closely related to the Malaguenas. The Jaberas is supposed to be Toque Libre, without compas and un-danceable. As if to confuse the issue, Carmen Amaya claimed that her grandfather introduced the Jabera as a dance form. She called it a kind of Solea. So be it! Why not throw one more contradiction into the bucket of flamenco mysteries.
JALEO
Shouts of encouragement. A person doing this is called a JALEADOR (male) or JALEADORA (female). These players also provide rhythmic effects such as palmas (hand clapping) and pitos (finger snaps) and act as a sort of cheer squad for the up front performers.
JALEOS
Shouts of encouragement. A person doing this is called a JALEADOR (male) or JALEADORA (female). These players also provide rhythmic effects such as palmas (hand clapping) and pitos (finger snaps) and act as a sort of cheer squad for the up front performers.  (HELL-AYE-OS)
JUERGA
A festive binge of drinking and merrymaking.
LETRA
The lyrics of a song. A section of a dance equivalent to a verse of a song.
LEVANTE
This is a geographical area stretching from Almeria in eastern Andalucia up around to Valencia. This area gives its name to the so called Cantes de Levante (songs of the Levante).   These are MINERA, TARANTA, MURCIANA and CARTAGENERA.
LIGADO
In musical notation, this is the same as the Italian word 'Legato'. It means tie or bind together. A slur.
LIVIANA
(Song and dance form) This song evolved from being a Tona Liviana, a song without accompaniment or compas, to a style with guitar accompaniment performed to the compas of Siguiriyas.
LIVIANAS
(Song and dance form) This song evolved from being a Tona Liviana, a song without accompaniment or compas, to a style with guitar accompaniment performed to the compas of Siguiriyas.
LLAMADA
Call. This is a series of steps which alert the guitarist that the dancer wishes to end a section, or an entire number.
LORCA, Federico Garca
1898-1936, Spanish lyric poet and dramatist. His work reflects the spirit of his native Andalusia and his own passionate response to life. Gypsy Ballads (1928) made him the most popular Spanish poet of his generation, while Lament for the Death of a Bullfighter (1935) and The Poet in New York (1940) evidenced his growing maturity of thought. His plays, notably the tragedies Blood Wedding (1933) and The House of Bernarda Alba (1936), ensure his continuing international reputation. Garca Lorca was shot by FRANCO's soldiers at the outbreak of the SPANISH CIVIL WAR.
MALAGUENA
(FLAMENCO STYLE) (SONG FORM. CANTE JONDO.TOQUE LIBRE) This style of Malaguenas was created and developed by singers such as Juan Breva, and became very popular in the cafe cantante circuit in the late 19th century. Unlike the happy and lively style of the regional Malaguena, this freer style has a melancholy mood about it.
MALAGUENAS
(REGIONAL STYLE) (Song and dance form) These danceable, lighthearted songs evolved from the Verdiales and have a similar rhythm and form. According to Juan Serrano, the well known semi-classical Malaguena by the Cuban composer Ernesto Lecuona is based on the regional style of Malaguena. Donn Pohren however, believes it was influenced by the Flamenco style. What can I say? Take your pick.
MARTILLO
Hammer. A rarely used alternative meaning the same as GOLPE.
MARTILLO STROKE
Hammer stroke. This is a variation of the supported stroke (rest stroke) in guitar playing. While the rest stroke is executed with a curved finger, which flexes straight at the first two joints while playing a note, the martillo stroke begins with a straight finger and snaps down forcefully to the next lower string. The result is a strong sound of much greater volume than the traditional classical style rest stroke.
MARTINETE
Songs of the blacksmiths. Songs accompanied by the sound of the blacksmiths hammer (martillo) striking the anvil.
MARTINETES
Songs of the blacksmiths. Songs accompanied by the sound of the blacksmiths hammer (martillo) striking the anvil.  See also TONAS
MASTIL
Guitar neck
MAYOR
Major key
MEDIO
Middle finger. Symbol (right hand)-lower case 'm'.
MENIQUE
Little finger
MENOR
Minor key
MILONGA
(SONG FORM) This song form originated in Argentina. Played in 4/4 time in A minor, it is similar in some ways to the Farruca, except that the falsetas are more lyrical. It has syncopations and a mood of controlled passion reminiscent of the Tientos. The compas is variable: sometimes free, sometimes well defined. The song modulates from minor to major at certain times and in places displays distinct rhythmic and melodic reflections of the Argentinean Tango.
MINERA
(SONG FORM) The word comes from Minero (miner) and deals with mining themes as one would expect. It is one of the group of songs known as cantes de Levante.
MIRABRA
(Song and dance form) One of the group of songs known as Cantias. This is in many ways identical to Alegrias, but lacking the dynamic quality and grace.
MIRABRAS
(Song and dance form) One of the group of songs known as Cantias. This is in many ways identical to Alegrias, but lacking the dynamic quality and grace.
MURCIANA
(Song and dance form) One of the group of songs known as cantes de Levante.
OLE
An exclamation of approval or encouragement. Probably from the word 'Allah'.
PACO DE LUCIA
Paco de Lucia was born Francisco Snchez Gmez on December 21st, 1947 in Algeciras, a sea port in Cadiz. He was surrounded by flamenco song and dance since he was born. He was already familiar with compas when his father began teaching him to play the guitar at the age of seven. Between 1962 and 1964 he toured the United States, along with his brother Pepe, with the Jose Greco Dance Company. There he met the great virtuosos Sabicas and Mario Escudero. Sabicas encouraged him to develop his own ideas. His greatest influence however, was undoubtably Nio Ricardo, whose style he imitated from an early age.   Since his first recording in 1960 with his brother Pepe, he has gone on to record many ground-breaking albums. All of his solo albums (and those with his sextet and the singer Camaron) are full of musical innovations which others soon began imitating, spawning a whole new generation of young virtuosos. His collaborations with non-flamenco artists such as John Mclaughlin, Al Di Meola, Chick Corea and Bryan Adams allowed him to extend his musical horizons even further. His amazing virtuosity and unprecedented popularity as an international artist have elevated him to almost messiah-like status in the eyes of many of his peers.
PALILLOS
Little sticks.
PALMAS
Hand clapping. The two types are loud and soft.   FUERTES: (loud, strong) or SECO: (dry) or CLARO: (clear)  SORDAS: (soft). From the word sordo meaning muted or muffled
PASEO
Walk. A walking step that connects two sections in a dance. Walk. A walking step that connects two sections in a dance. The dancer may walk around striking arrogant poses without losing the timing in the steps. It is also the opening ceremony at a bullfight.
PAYO
Non Gypsy (PAY-JO). Also GAYO (GAY-JO).
PENA
Flamenco club
PETENERA
(SONG AND DANCE FORM. CANTE JONDO) The general mood of this form is one of sadness. The slow measured rhythm is notated in alternating bars of 6/8 and 3/4 like Guajiras. Also like the Guajiras, its 12 beat compas is identical to the Bulerias, but very much slower.  The name is taken from the village of Paterna de Rivera, near Jerez de la Frontera. The superstitious legend connected with its origin endows Peteeras with a certain mystique. According to this legend, a beautiful young prostitute called Dolores died a violent death at the hands of one of her lovers. For some authors, the word prostitute is a little severe and they prefer a more poetic description such as, a beautiful young temptress who stole men's hearts. After her death, songs were created around the story. The superstition surrounding Peteeras is directly connected with the misfortunes that followed later public performances.  One account is of a dancer who played the part of Petenera and died a choreographed death on stage, following the story line from the legend. The four male dancers involved in the show carried her off stage on their shoulders singing, La Petenera has died and they are taking her to be buried... Backstage they discovered that the dancer really was dead, apparently from a heart attack.  Every year in July, the people in the village of Paterna pay homage to this form of cante and to Dolores by hosting a national Peteeras song competition. There are some who believe that Peteeras was originally a song of the Sephardic Jews. The evidence comes from a verse which makes reference to a beautiful Jewess on her way to a synagogue. This would date the song back as far as 1492, which is when the Jews (and the synagogues) disappeared from Spain.
PETENERAS
(SONG AND DANCE FORM. CANTE JONDO) The general mood of this form is one of sadness. The slow measured rhythm is notated in alternating bars of 6/8 and 3/4 like Guajiras. Also like the Guajiras, its 12 beat compas is identical to the Bulerias, but very much slower.  The name is taken from the village of Paterna de Rivera, near Jerez de la Frontera. The superstitious legend connected with its origin endows Peteeras with a certain mystique. According to this legend, a beautiful young prostitute called Dolores died a violent death at the hands of one of her lovers. For some authors, the word prostitute is a little severe and they prefer a more poetic description such as, a beautiful young temptress who stole men's hearts. After her death, songs were created around the story. The superstition surrounding Peteeras is directly connected with the misfortunes that followed later public performances.  One account is of a dancer who played the part of Petenera and died a choreographed death on stage, following the story line from the legend. The four male dancers involved in the show carried her off stage on their shoulders singing, La Petenera has died and they are taking her to be buried... Backstage they discovered that the dancer really was dead, apparently from a heart attack.  Every year in July, the people in the village of Paterna pay homage to this form of cante and to Dolores by hosting a national Peteeras song competition. There are some who believe that Peteeras was originally a song of the Sephardic Jews. The evidence comes from a verse which makes reference to a beautiful Jewess on her way to a synagogue. This would date the song back as far as 1492, which is when the Jews (and the synagogues) disappeared from Spain.
PICADO
A guitar playing technique. Playing scale passages by alternating the index and middle fingers. Normally executed apoyando (with rest strokes)..
PITOS
Finger snaps
POLO
(SONG AND DANCE FORM. CANTE JONDO) Exactly the same as Caa and Solea, except for it's distinct melodic line. The ay ay ayes are also a different length.
PONTA
Toe of the shoe.
POR ARRIBA
Arriba means up or above. Without actually naming a specific key, the term 'por arriba' is taken to mean a flamenco key based on the E chord. The word 'arriba' alludes to the physical position of the hand on the finger board. The hand reaches 'up' towards the bass strings to play an E chord.
POR MEDIO
Medio means middle. The term 'por medio' is taken to mean a flamenco key based on the A chord. The hand position for this chord is 'around the middle' of the finger board.
POR ROSA
Alegrias played in the key of E Major.
POR ROSAS
Alegrias played in the key of E Major.
PUENTE
Bridge.
PULGAR
Thumb. Symbol (right hand)-Upper case 'P'
RAMON MONTOYA (1880-1949)
Ramn Montoya was a Madrid born gypsy and is best known for his creativity and virtuosity. He is considered a pioneer of the flamenco guitar, much like Segovia was for the classical guitar.  He was the first tocaor to create a repertoire for flamenco guitar as a solo instrument, the first time he played alone in front of a big audience was in Paris in 1934). In this way the flamenco guitar became a lead instrument, not just an accompaniment to the voice. Echos of his original falsetas are still played today.Since then Ramn Montoya generated an unstoppable interest in flamenco guitar and its new technical and compositive possibilities. He was the first to introduce musical virtuosity to the world of flamenco.  He is credited for introducing the five stroke tremolo and arpegio techniques into the flamenco playing style as well as creating the guitar solo form Rondea. (quote in italics from Flamenco-world.com)
RASGUEO
Also called Rasguedo. From Rascar, meaning to scratch. Right hand strumming technique.  (RAH-AY-OH)
REDOBLE
A series of four or five beats compressed into one or two beats. Redobles can be used anywhere in the dance to provide dynamic accents. They are commonly used in a LLAMADA or in the end of a section.
REMATE
Finish. The closing phrase of a dance.
REST STROKE
Also referred to as a 'supported stroke' or 'apoyando stroke'. The technique of stopping a right hand finger on the next lowest string after playing. The finger is arched at the first joint to begin with but straightens as it plays the string, coming to rest gently on the adjacent lower string.
ROMA
The ROMA. Gypsy language word for the Gypsy race(s).
ROMANES
The Gypsy word for the original (non-Spanish) Gypsy language.  (ROM-NESH)
ROMERA
(Song and dance form) One of the group of songs known as Cantias. Almost identical to Alegrias. Like the Mirabras, Romeras was probably artificially conceived and created to add variety to the repertoire of songs sung in the Cafe Cantante of the late 19th century.
ROMERAS
(Song and dance form) One of the group of songs known as Cantias. Almost identical to Alegrias. Like the Mirabras, Romeras was probably artificially conceived and created to add variety to the repertoire of songs sung in the Cafe Cantante of the late 19th century.
RONDENA
(2)(TOQUE LIBRE) A musical form created specifically for the guitar by Ramon Montoya. He is said to have developed it from yet another form called Rondeas which is different to the one described in the previous definition. Are you confused yet? If you haven't been keeping count, this makes three very different classifications of Rondeas.
RUMBA
(Song and dance form) A popular rhythm originating in the sugar and banana plantations of Cuba. The gypsy adaptation is called Rumba Gitana (gypsy rumba), or more commonly, Rumba Flamenca. This is a lively, festive dance in 4/4 which is good humored and tastefully seductive in nature. The guitarist borrows the rhythmic slapping techniques from the South American style of playing. The Rumba, in all it's various styles, is very popular with guitarists. Paco de Lucia's early recording of a Rumba, Entre dos Aguas (between two waters), was largely responsible for bringing him to the attention of the wider, non-flamenco public. The Gypsy Kings, although not considered a flamenco group, have built their entire career around the Rumba Flamenca styles.
SALIDA
Exit.
SEGUIDILLA
Folk dance. No connection with the flamenco form Siguiriyas.
SERRANA
(Song and dance form) Serranas was probably originally a 19th century folk song. It made it's way into the flamenco repertoire courtesy of the famous singer Silverio. It is a style of song-story with the same compas as Siguiriyas and is related to Livianas and Caa. Its verses tell of life in the mountains among the bandits and smugglers. It is danced in a similar style to the Siguiriyas.
SERRANAS
(Song and dance form) Serranas was probably originally a 19th century folk song. It made it's way into the flamenco repertoire courtesy of the famous singer Silverio. It is a style of song-story with the same compas as Siguiriyas and is related to Livianas and Caa. Its verses tell of life in the mountains among the bandits and smugglers. It is danced in a similar style to the Siguiriyas.
SEVILLANA
(Song and dance form) A Castilian folkloric dance adopted as the regional dance of Seville. The Sevillanas originated from the 19th century style of classical dance known as Seguidillas Boleras. Going even further back, the Boleras evolved from the dance form known as Seguidillas Manchegas, popularized in the southern Castilian region of La Mancha (Don Quixote country).  Sevillanas is a popular festive dance all over Andalucia. It evolved into a structured format consisting of a group of four short dances. Within each dance there is a melodic theme which is sung (or played) three times. These four dances are called coplas, or verses and they each end with a sudden stop as the dancers strike a pose.
SEVILLANAS
(Song and dance form) A Castilian folkloric dance adopted as the regional dance of Seville. The Sevillanas originated from the 19th century style of classical dance known as Seguidillas Boleras. Going even further back, the Boleras evolved from the dance form known as Seguidillas Manchegas, popularized in the southern Castilian region of La Mancha (Don Quixote country).  Sevillanas is a popular festive dance all over Andalucia. It evolved into a structured format consisting of a group of four short dances. Within each dance there is a melodic theme which is sung (or played) three times. These four dances are called coplas, or verses and they each end with a sudden stop as the dancers strike a pose.
SEVILLE
Sevilla. Regional capital of Andalucia.
SIGUIRIYA
(SONG AND DANCE FORM. CANTE JONDO) The word may be a gypsy dialect variation of the word Seguidilla, a classical Castilian folk dance. These two dance forms have absolutely nothing in common with each other except for this historical accident of similar sounding names.  Siguiriyas is dark, mournful and desolate in character. It is considered the greatest test of a singer's ability. The reaction of the uninitiated to hearing a deeply felt Siguiriya sung at close range would probably be to step back a few paces and cover the ears. From the guitarist's perspective, it has a counting structure which may be difficult to grasp at first. If you were counting around a 12 beat cycle, the counting would start at 8 in order to preserve the basic accent sequence of 3, 6, 8, 10 and 12. Since the traditional playing key is the same as Buleria, this allows the guitarist the option of modifying a falseta from one and adapting it to fit the other.
SIGUIRIYAS
(SONG AND DANCE FORM. CANTE JONDO) The word may be a gypsy dialect variation of the word Seguidilla, a classical Castilian folk dance. These two dance forms have absolutely nothing in common with each other except for this historical accident of similar sounding names.  Siguiriyas is dark, mournful and desolate in character. It is considered the greatest test of a singer's ability. The reaction of the uninitiated to hearing a deeply felt Siguiriya sung at close range would probably be to step back a few paces and cover the ears. From the guitarist's perspective, it has a counting structure which may be difficult to grasp at first. If you were counting around a 12 beat cycle, the counting would start at 8 in order to preserve the basic accent sequence of 3, 6, 8, 10 and 12. Since the traditional playing key is the same as Buleria, this allows the guitarist the option of modifying a falseta from one and adapting it to fit the other.
SILENCIO
Literally, silence. Strictly speaking it describes any section in a performance when the guitar remains silent, such as when a dancer builds up speed in his or her footsteps. Silencio also traditionally refers to a section in Alegrias, which is played in a minor key at a much slower pace. It may be characterized by slow and dramatic sweeps of the thumb across the strings to imitate the sound of campanas (bells). The silencio in Alegrias therefore could more correctly be called campanas (bells) for this reason.
SOL-FA
A method of designating the musical notes in a major scale which dates back to the 11th century. The notes C, D, E, F, G, A, B are called Doh, Re, Mi, Fah, Sol, La, Si. The English version uses 'Te' instead of 'Si' for the note 'B'. This system is sometimes used in books on flamenco, either on it's own, or beside the 'ABC' system. Various cultures may refer to this method of ear training and sight reading as Solmization, Solfege or Solfeggio.
SOLEA
(SONG AND DANCE FORM. CANTE JONDO) Same as Soleares. Often referred to as the mother of flamenco because other important forms such as Alegrias and Bulerias are derived from it.
SOLEA POR ARRIBA
Aribba means 'up' or 'from above'. This is a traditional reference to the upper playing position. This would be a Solea played in the 'E Phrygian' mode using the E Major chord (upper fret board) position. Because this is the traditional and assumed key for Solea, the 'por Arriba' reference is ignored. It would normally only be relevant when a singer wants to indicate to the guitarist that this is the key most suited to his vocal range.
SOLEA POR BULERIAS
This is a hybrid form combining elements of both Solea and Buleria with a speed somewhere in between. It should not be thought of as a faster Solea or a slower Buleria. It has it's own character and dynamic 'feel' about it. The compas is the same as Bulerias (starting on 12), and the guitar chords are similar to Solea. Solea por Buleria, like Solea, can end with a section of 'straight' Bulerias.
SOLEA POR MEDIO
Medio means 'middle'. This is a traditional reference to the middle playing position. This would be a Solea played in the 'A Phrygian' mode, using the A Major chord (middle fret board) position.
SOLEARES
(SONG AND DANCE FORM. CANTE JONDO) Same as Soleares. Often referred to as the mother of flamenco because other important forms such as Alegrias and Bulerias are derived from it.
SOLEDAD
Loneliness. Solitude.
SORDAS
Soft, or muffled hand claps.
TABLAO
A low stage. Also a nightclub or cafe where flamenco is performed.
TACON
Heel
TACONEO
Heelwork
TAMBOR
Drum. A drum like effect produced by pulling on the 6th string downwards so it ends up resting against the 5th sting on the treble side. This sounds very much like a snare drum when playing a rasgueado. Another drum like effect can be produced by bouncing the length of the thumb off the strings close to the bridge.
TANGOS
(Song and dance form) A lively, infectious dance in 4/4. Although it is generally performed in a light style, it has an inherent, yet subtle tone of seriousness about it. While some believe it has connections to the Argentinean Tango, others emphatically insist it is of purely gypsy origin, having distinct similarities to the Tientos. Arguments about whether Tientos came before Tangos or vice versa are best left to musicologists and purists. Tangos is one of the most impressive and dynamic dance forms and like Buleria, is nurtured and developed as a show piece to be performed near the end of a performance.
TANGUILLO
Means little tango. A light, cheeky aire developed in Cadiz from the Tango.
TANGUILLOS
Means little tango. A light, cheeky aire developed in Cadiz from the Tango.
TAPA
The top of the guitar. Soundboard.
TARAB
The Arabic equivalent of flamenco's Duende, a state of ecstasy brought on by the singing. They would break jars on their heads, rip their clothing, and roll about on the ground. Wow! These Arabs really knew how to party.   (paraphrased from the magazine: JALEO - VOLUME VIII, No . 1) FLAMENCO: THE EARLY YEARS by Paco Sevilla.
TARANTA
(SONG FORM. CANTE JONDO. TOQUE LIBRE) Taranta is the song form of the miners. Originating in the province of Almeria, these songs are also associated with the neighboring provinces of Jaen and Murcia. Tarantas reflects a sense of tragedy, deprivation and sorrow. The dark sounding discordant melodies and open chords used in Tarantas give it a distinctive Oriental character. This doesn't mean Chinese. In flamenco speak, the word Oriental is taken to mean Arabic. The world is full of wonders, is it not?
TARANTAS
(SONG FORM. CANTE JONDO. TOQUE LIBRE) Taranta is the song form of the miners. Originating in the province of Almeria, these songs are also associated with the neighboring provinces of Jaen and Murcia. Tarantas reflects a sense of tragedy, deprivation and sorrow. The dark sounding discordant melodies and open chords used in Tarantas give it a distinctive Oriental character. This doesn't mean Chinese. In flamenco speak, the word Oriental is taken to mean Arabic. The world is full of wonders, is it not?
TARANTO
(Song and dance form) A danceable form of Tarantas with a steady compas in 2/4 time.
TARANTOS
(Song and dance form) A danceable form of Tarantas with a steady compas in 2/4 time.
TEMBLEQUE
Rapidly alternating heelwork executed without body movement and producing a trembling sound.
TEMPLE
Tempering, tuning. The vocal warm up at the beginning of a song consisting of repeated ayes. This is so the singer can tune his or her voice to the guitar, and also to get into the mood and rhythm of the song.
TIENTO
(SONG AND DANCE FORM. CANE JONDO) Tiento means touch. Those who believe that Tientos came before Tangos would probably say something like; If Solea is the mother of flamenco, then Tientos is the father.  Tientos is usually notated in 2/4. It has a character which is jondo, majestic and sensual, and much slower than the tangos. It is normally played in the A Phrygian mode. Although the compas is the same as tangos, some beats are prolonged and others are cut short. This can look really messy and confusing in music notation. The best way to learn the compas of Tientos is by listening and imitation.
TIENTOS
(SONG AND DANCE FORM. CANE JONDO) Tiento means touch. Those who believe that Tientos came before Tangos would probably say something like; If Solea is the mother of flamenco, then Tientos is the father.  Tientos is usually notated in 2/4. It has a character which is jondo, majestic and sensual, and much slower than the tangos. It is normally played in the A Phrygian mode. Although the compas is the same as tangos, some beats are prolonged and others are cut short. This can look really messy and confusing in music notation. The best way to learn the compas of Tientos is by listening and imitation.
TIENTOS FOR TANGOS See ZAMBRA
TIENTOS FOR ZAMBRA  (Song and dance form) This is a faster version of Tientos. This is normally notated in 4/4.
TIPLES
Treble strings
TIRANDO
This means 'pulling'. Same as the classical style 'free stroke'.   See also FREE STROKE.
TOCAOR
Male flamenco guitar player
TOCAORA
Female flamenco guitar player
TOCAR
To touch. With music it means to play.
TONA
(SONG FORM. CANTE JONDO) From the word Tonada, meaning tune or popular song. They are widely believed to be the earliest flamenco song forms. Included in this group are the MARTINETES (songs of the blacksmiths), CARCELERAS (songs of the prisoners), DEBLA (of obscure origin) and perhaps even an early form of Siguiriyas. Tonas are song-stories that were neither played of danced. They were sung 'a palo seco', which means unaccompanied except perhaps with the rhythmic beating of a palo (stick) on the ground. In the case of the Martinetes, the song would be accompanied by the sound of a blacksmith's hammer striking an anvil.
TONAS
(SONG FORM. CANTE JONDO) From the word Tonada, meaning tune or popular song. They are widely believed to be the earliest flamenco song forms. Included in this group are the MARTINETES (songs of the blacksmiths), CARCELERAS (songs of the prisoners), DEBLA (of obscure origin) and perhaps even an early form of Siguiriyas. Tonas are song-stories that were neither played of danced. They were sung 'a palo seco', which means unaccompanied except perhaps with the rhythmic beating of a palo (stick) on the ground. In the case of the Martinetes, the song would be accompanied by the sound of a blacksmith's hammer striking an anvil.
TONO
Tone or key
TOQUE
1. Guitar playing.   2. Flamenco interpretation on the guitar.   3. A flamenco form or specific piece, such as Alegrias.
TOQUE LIBRE
This is a guitar term which means to play freely, without compas or time signature. Most touque libre are derived from the FANDANGOS GRANDES and include MALAGUENA, GRANADINAS, TARANTAS and RONDENA. There may be passages within any toque libre, which follow some sort of compas for a while, at the discretion of the guitarist, before returning to a freer mood. This style of playing lends itself well to improvised experiments in melody and rhythm as a piece progresses.
TRASTE
Fret
TREMOLO
A guitar playing technique. A bass note is played, followed by three or four strokes of a treble note, giving the illusion of two instruments playing together. The flamenco tremolo has 5 notes to the beat and uses the sequence of:   'piami'. Ramon Montoya is credited with introducing this technique. It may also be successfully executed with the sequence: 'pmami'.
VERDIALE
(Song and dance form) A lighthearted style of Fandangos from Malaga which takes its name from a village called Los Verdiales. It is Malaga's equivalent to Fandangos de Huelva, performed at a slower pace with the accent on the first beat of every bar. Verdiales is considered to be folklore and thought to be the oldest existing Fandangos in Andalucia.  There are two types of Verdiales. The 'regional' Verdiales is the folkloric style accompanied by tambourines, violins and other instruments as well as the guitar. The 'flamenco' Verdiales is accompanied only by the guitar.
VERDIALES
(Song and dance form) A lighthearted style of Fandangos from Malaga which takes its name from a village called Los Verdiales. It is Malaga's equivalent to Fandangos de Huelva, performed at a slower pace with the accent on the first beat of every bar. Verdiales is considered to be folklore and thought to be the oldest existing Fandangos in Andalucia.  There are two types of Verdiales. The 'regional' Verdiales is the folkloric style accompanied by tambourines, violins and other instruments as well as the guitar. The 'flamenco' Verdiales is accompanied only by the guitar.
VILLANCICO
A genre of Spanish song, dating from the 15th century. It is a poetic and musical form and was sung with or without accompanying instruments. Originally a folk song, frequently with a devotional song or love poem as text, it developed into an art music genre. The Villancico of the 17th century has a sacred text, often for Christmas. In the 18th century this form expanded into a dramatic cantata with arias and choruses. In the 20th century the use of the term is restricted to the Spanish Christmas carol. Although not real flamenco, it would not be unusual to see this song form on a flamenco recording.
VILLANCICOS
A genre of Spanish song, dating from the 15th century. It is a poetic and musical form and was sung with or without accompanying instruments. Originally a folk song, frequently with a devotional song or love poem as text, it developed into an art music genre. The Villancico of the 17th century has a sacred text, often for Christmas. In the 18th century this form expanded into a dramatic cantata with arias and choruses. In the 20th century the use of the term is restricted to the Spanish Christmas carol. Although not real flamenco, it would not be unusual to see this song form on a flamenco recording.
VITO
(Song and dance form) An old Andalucian folk song in 3/4 time which seems to have sneaked it's way into the flamenco repertoire. The distinctive melody line is preserved by the few artists who have recorded it. Paco de Lucia for one, has recorded a couple of different versions. It also frequently appears in sheet music published in the 1950's. Like the modern recordings, the interpretations are different but the melody line remains unaltered.
ZAMBRA
(Song and dance form) A festive dance of the gypsies of Granada. This is one of the most typically gypsy flamenco dances. It is notated in 4/4, with accents on the first and third beats. Zambra is Arabic for 'flute'. It was originally a lively Moorish dance and dates back to the 15th century. It is closely related to both the Tientos and the Tangos, with a speed somewhere in the middle. Juan Serrano prefers to call the Zambra Tientos por Tangos because it is, in effect, a combination of the two styles.    The distinction should be made between the Zambra and the very Arabic sounding Danza Mora. To be sure, they are both Moorish dances by definition, but the distinction is very clear. The Zambra, although developed from a style of Moorish dance, is pure gypsy flamenco. The Danza Mora on the other hand, bends over backwards to sound Arabic.     The confusion arises when an recording artist labels an Arabic sounding composition 'Zambra' or 'Zambra Mora'. This would sound nothing like the gypsy Zambra one might be expecting. Strangely, the same does not seem to occur in reverse. A Zambra is apparently always a Zambra, and can never be confused with anything else.
ZAPATEADO
1. (DANCE FORM) An ancient virtuoso dance for both men and women involving a lot of fancy heel work, as well as many sudden stops and starts and accelerating passages. At times, the melody matches the footsteps. The dancer and guitarist must be perfectly synchronized at all times and great skill is required from both.   2. Footwork. An interplay of heel, toe and sole to produce elaborate sounding rhythms.
ZAPATO
Shoe
ZORONGO
This is an old folk song resurrected by Garcia Lorca. In recent years it has quietly made it's way into the flamenco repertoire. It has a 12 beat compas and sounds almost like a sensual, more lyrical version of Peteneras. Near the end it takes on the compas of Bulerias. This sequence of slow and fast may also be alternated. Paco Pena plays a Zorongo on his album Fabulous Flamenco.
ZYRYAB
A Persian poet and musician who made Cordoba the center of learning in Moorish held Spain. He is also credited with adding a fifth string o the guitar.
