The conga or tumbadora is a tall, narrow, single-headed Cuban drum with African antecedents. It is thought to be derived from the Makuta drums or similar drums associated with Afro-Cubans of Central African descent. A person who plays conga is called a "conguero". Although ultimately derived from African drums made from hollowed logs, the Cuban conga is staved, like a barrel. These drums were probably made from salvaged barrels originally. They are used both in Afro-Caribbean religious music and as the principal instrument in Rumba. Congas are now very common in Latin music, including salsa music, merengue music, Reggaeton, as well as many other forms of American popular music.
Most modern congas have a staved wooden or fiberglass shell, and a screw-tensioned drumhead. They are usually played in sets of two to four with the fingers and palms of the hand. Typical congas stand approximately 75 cm from the bottom of the shell to the head. The drums may be played while seated. Alternatively, the drums may be mounted on a rack or stand to permit the player to play while standing.

Verdiales are a Flamenco music style, and song form belonging to Canté Chico.

Originating near the Spanish port of Málaga in Andalucia, it is based upon the fandango. For this reason, the Verdiales are sometimes known as Fandangos de Málaga..

Normally played in the key of E major (rarely, A minor), the Verdiales have a 12-count rhythm similar to the Soleares, and Bulerias.

A musical style, not to dance, characteristic of the folklor from Argentina and Uruguay. The Vidalita is sometimes confused with the Vidala. Both from Collam in the north-east of Argentina, specially in the regions of Caramarca and Tucuman.

From "El Fillo", hoarse voice, deep and cracked, medium or high-pitched.

A clean and high-pitched voice.

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De la Zambra al duende. Juan Habichuela

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Morisco party with music and "algazara". Subsequently, the typical party of the Andalusian gypsies. Today we use the "zambra granadina".
In the "cueva sdel Sacromonte" we will find three different dances: the "alboreá", the "cachucha" and the "mosca", symbols if the three moments of a gypsy wedding. This is an old dance.

The zapateado is a dance of Spanish origin characterized by a lively rhythm punctuated by the striking of the dancer's shoes, akin to tap dance. The name derives from the Spanish word zapato for "shoe": zapatear means to strike with a shoe.

The dance is also popular in various countries of Latin America.

The term is also used to refer to percussive footwork in some Spanish/Latin dances that involve elaborate shoe clicking and tapping and to the percussion music produced by shoe striking.

Among the composers to write Spanish Zapateados is Paco de Lucía, whose Precussión Flamenca is a very popular piece for guitar and orchestra. Also Pablo de Sarasate, whose opus 23, no. 2 is a version of the dance scored for violin and piano. The piece is full of harmonics, double stops, left hand pizzicato and is often performed by young virtuosos.

Dance and song performed byold Catalonian gypsies in private parties.