This song, known as the "cabales" is a changed "seguiriya". El Fillo named it like that. An anecdote tells that El Fillo sung for the great bullfighter "Paquiro" a lot of seguiriyas and Paquiro, enthusiastic and generous, gave him a gold coin.
When El Fillo went shopping the singer realized that the coin wasn't perfect.
Then El Fillo decided to find Paquiro and he asked him: "Please, tell me, Master, was something missing to my singing...?" The bullfighter answered negatively and was very surprised with the question. The singer added: "Were my seguiriyas "cabales" - complete?"
Since then we called cabales the changed seguiriyas.

Choreographic pantomime, representing the begging of perdon of a gypsy because he stole his girlfriend. That means that the woman is now forming part of a new group, she belongs to a new family.

In music, effect produced by a relative chord when it lies in its foundation.

After the primitive period, when the flamenco song and flamenco dance were interpreted in friends meetings, in patios we know a new period called "Café Cantantes".
We consider this period of "Café Cantante" the most importamt, because its classicism, definition of the styles and spreading outside the usual limits of Andalusia.
Places where they sell drinks and offering singing recitals, but also toque shows and flamenco dance performances. We can set the splendor period between 1847 and 1920 and its decadence from the 20s.
Generally it was a spacious living room, decorated with mirrors and bullfighters posters, with chairs and tables and a scene (a wooden scene) where they performed.
On the sides they were boxes for the moneyed audience and private rooms for the parties and family dinners.
We can divide the "Café Cantantes" into "general" where we sung all kind of folk songs and "Experts" where one kind of song dominated.

End of a song.

Lyric that is used like a culmination in some kind of songs.

A Campanillero is a flamenco cante or song form. It is in couplets of six verses. It has its origin in sacred songs of Andalusia which were chanted during the early morning procession known as Rosario de la Aurora.

The Caña can be considerated like a fundamental song of the flamenco. Its melodic influence is unquestionable, nt only in minor songs but also in some of the oldest styles, the original ones.
Some prestigious opinions locate the soleas and the siguiriyas before the caña. But we are not sure about that.
The Caña uses and covers all voice's styles, very difficult to sing, requires technique and vocal abilities.

Artist singing flamenco.

The song, with guitar accompaniment, to listen to, without dance.