The music have beats or tidy and regular impulse. We call them beats.
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Pulso
Quejío or Quejido
Surprise shouts produced when we sing, at the begining, in the middle or at the end..
Rasgueo
Technique of the right hand used for the Spanish guitar, the opposite of the "punteado". Basic of the flamenco guitar.
Rasgueo in horquilla or abanico
When we applied the "alzapua" technique to the whole hand, with "tresillos" executed with the index finger and the big toe.
Redobles
The knocks are double and done with the whole foot.
Reloj Flamenco
To understand this concept we have to imagine a watch with the numbers 1 to 12.
We keep the 1, the2, the 3, the 4, the 5, the 6, the 7, the 8, the 9, the 10, and we show the 11 as the 1 and the 12 as the 2.
Now we visualize the imaginary watch and we trace a line from the 12 (like the 2) and to the 6. The right side is called 6/8 and the left side the 3/4, and the imaginary line is called the accent.
The right side of the circle corresponds to the six times of a 6x8 compas, with accents on 12 (2) and on the 3, dividing the six times in two groups of three, 2-1-2 and 3-4-5.
The left side shows the six times of a 3x4 compas, with accents on the 6, 8 and 10, divided in three groups of two: 6-7; 8-9; 10-11 (1).
To count the twelve times of a flamenco compas we use the flamenco watch, it will help us to understand the rhthmical structure, it is like a rhythmical regulator.
Remate
Rhthmycal, melodic or harmonical cadence in the flamenco music. Last tercio/part, we usually accelerated the time and we changed the modal tone for the Major. We also know this culmination like macho or cambio, with a clear musical structure.
Ritual embrace (Abrazo ritual)
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Ritual embrace (Abrazo ritual)
This is a widespread experience: at the end of each "coplas" session (three or four, the ones sung in a row, after that they experienced small breaks) each dancer or "bailaoe" had the right to give a "ritual hug" to his "bailaora". It usually was a simple gesture: to lay arms on the "bailaora" shoulders, or a similar gesture.
When the hug was more demonstrative than the conventions allow, some of the observers reprimanded the dancer. The ending varied, from laughs in the best cases to fights with knife wounds and even deaths.
Romance
Song, also known as "corrido" or "corrida", with a very special intonation, based in the popular Andalusian Romances. Interpreted without accompaniment, possibly the most primitive flamenco style.
Romera
Flamenco song from the group of the Cantiñas, Cadiz. Romero el "Tito", popular Andalusian cantaor from XIX. century created from an old Cantiña a danceable style and he called it Romera.
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