Argot Flamenco


CIMG1067-300x225This music has a specific Flemish slang that is inherent and strongly distinguishes him from other music. These expressions are another differentiating seal is good to know for your greater understanding.

The nineteenth century romanticism imbued with flowers and discover artists and intellectuals in the south, in Andalusia, the most authentic artistic expression. Than it produces more delight for romantics, here it is music and music is fraught with exoticism, with ancient roots that take us to the Andalusian era. This found music, with its aesthetics and uniqueness is flamenco.

Literature that emerged to describe what the authors observed, born words embedded in the Flemish slang. The word elf is a lyrical creation of Federico Garcia Lorca.

Incorporating marginal jargon expressions mixture of the Spanish language social groups and of Gypsies and with deformation purposely termination of words, eg singer to singer provides differentiators.

Flamenco slang is fraught with romance.

Another feature is that certain musical terminology flamingos change it, for example compass is used to talk about rhythm. Other terminology is playing by touching above and instead of saying that the guitar was played notes.

We should also say that the term that gives its name to this music comes from the Flemish slang slang that was used in Seville by the troops and marginalized groups. The flamingos were soldiers from Flanders and his haughty and courageous attitude fame is charged, this fame was also shared by the Roma. Hence the term that names the Flemish arises possibly. It is still used the phrase «that person is very flamenco» to underline that this person is predisposed to the fight.





Abandolao: fandango variant greatly influenced by the ancient use of the mandolin.

. Form accompany the eastern fandangos

Chords. Position your left hand on the guitar fret.

Afillá: Deep voice. Its name comes from the one with the legendary singer El Fillo.

Tuning. Accuracy emission of sounds.

Aflamenc ar.  Adapt to flamenco styles melodies or songs from other genres


Alleviated. Taking a break in an improper time.

Spike upward.  flamenco guitar technique that involves using the thumb

right hand in barb for quick riffs.

Anacrúsico.  musical feature that occurs when the beginning of a

Melody (rhythmic singing) is not made in the first beat.

A and cos. Complain, complain. It used to emphasize to entonarase to intro-

ducirse in the rhythms.

A t I Emperado. To moderate the tone of the voice.

Dancer / hour. People dancing.

Bandola. musical instrument.

Cabal.  People really understood the essence of flamenco styles.

Change. Changes taking place in some styles to enlarge the terminal

tion of a song.

Singer / a. Those who sing.

Sing. Term of flamenco comes to running a music style

flamenco, whether it’s vocal or instrumental form.

Cantiñear. Cantiñas interpret. Usually some of the variants are mixed

cantiñas tees.

Singing forward. Sing where the voice is the center of attention.

Sing back. Sing to accompany the dance.

Cantejondo. Solemn styles that cause deep feelings, by extension

sion, flamenco.

Sing a capella. They’re flamenco ethyls carried out using only

the voice. These are the tonás, pile, jailers, arrows …

Round-trip songs. Songs that were brought to Latin America and Andalusia

They aflamencaron with the passage of time.

Levante.  Refers to a group of songs that are specific mining areas

Flush the area of ​​Jaen, Almeria and Murcia and Cartagena.

Sing through. Singing out of rhythm.

Compass. measurement rate.

Contracompás. Accentuate the weaker parts of the beats.

Vocal color. Different ways to vary the position to voice.

Couplet.  Letter or short composition, consisting of four lines intended for


Rudeness. Steps performed by the dancer / hour between different parts of the dance.

Duende. The mysterious and ineffable charm cante.

Duquelas:  Fatigas felt by the singer.

F alseta. interlude between making the guitar sing different letters.

F alsete:  Registration sharper than the natural voice; It occurs rattling

the top chords of the larynx and allows the male voice imitating the tone


Liking . Satisfaction felt by the interpreter inside the domain and

good exhibition of his art.

Syllabic style. When each syllable corresponds a musical note.

Subclótico Hiperbarismo. Increased atmospheric pressure in the lungs.

Heterophony. Conjunction of different sounds

Hemiolia. Resource rhythmic accentuation change consisting of a passage.

Impost. Placement of the larynx in a position to sing.

Cheering. Encouraging words, etc., who sing, dance or play.

Spree. Party between supporters distinguished by the enjoyment and spontaneity


Juguetillo . Letter characterizes cantiñas.

Calls. Blows with the foot that makes the dancer / time to announce

accompanying begins another phase of the dance.

Linked . Left hand technique that involves tying several notes from

Dotted one right hand.

Macho.  Closing of the songs running them more brilliance and pitch

Rock singing. How to decorate the melody.

Melismas. Resource sing consisting of applying various musical notes on the

vowel in a syllable.


Phrygian mode.  characteristic of flamenco harmonic system.

Modulation. Changing hue.

Olé¡ . Admiring exclamation own song that stimulates the singer / ay rest

disciplines when expressed at the right time, so far without in-

torpecer interpretation.

P alo.  Variety flamenco style.

P ellizco.  Capacity in the interpretation of intimal way to communicate emotions

ma with fans.

Chopped. Technique biting guitar playing the strings with the tips of


Whistles. Clicks finger to accompany the songs and dances.

Polyrhythm. Mixture of different rhythms in the same style.

P or right. Interpretation adjusted to the classic canon of a stick.

P or bajini.  Singing in the position of lower voice.

Dotted. Technique guitar playing.

Rajo.  Feature tone that accentuates the depth of cante.

Strum. guitar playing technique.

R EETING . Whenever and wherever fans come together with interpreters

it leading to an understanding and coexistence in which enjoys singing with

greater complicity.

They are.  Rhythm of Cuban origin that flamenco it is similar to saying, compass.

Guitar. Guitar.

T emple. Know how the songs wisely and to reach the public domain.

T ango of black, American tango. First name of today’s tangos.

T aconear.  rhythmic sound that you get at the ball with their feet.

T ercios. The verses sung lyrics.

T ocaor / hour. Guitarist.

T TED above / below. Action guitar.

T r emolo. Repeating a quick note.



Metamorphic Transformation

Observing metamorphic transformations in nature allows us to extrapolate that method to humans and the arts. That is to say, the foundational substance becomes a supporting substance retained in the new identity. These essential elements are absorbed, now invisible to the observer, while the transformed form creates a stunning awareness of the new.

Likewise, our compositions make use of a similar pattern of creative mutation, if you will. We begin with folk songs that poet Federico Garcia Lorca chose, rescued from oblivion, transcribed for the piano and performed in various venues. Following a trajectory of revealing hidden elements, we submit them to an unexpected metamorphic process. The melodic essences of the old songs are those that give musical meaning to different poems that Lorca wrote.

Additionally, in his short life, he created diverse artistic works, including poetry, music, and literature. He also created formidable works for the theater, while also embracing other mediums such as painting. His contemporaries and artistic collaborators included Joan Miro and Salvador Dali.

«Lorca in the Keys of Hands and Voice,” a concert conceived and presented by Adam Kent and Fernando Barros, is a musical innovation inspired by Lorca’s example. Lorca collected melodies from the Spanish folklore repertoire and transcribed them for the piano using two different concepts: 1) adapting the old melodies to various of his poem, as for example, ANDA JALEO to the poem «Preciosa y el Aire”; and 2) singing the old songs using the expressive, emotive characteristics inherent in flamenco music.

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