There are within flamenco many forms, each with their own rhythm, harmony and atmosphere.

The most typical flamenco rhythm is that which is used in the form of Buleras and some other forms. It has a measure of twelve counts, with non-regular intervals between accents. It goes something like this:
1 2 3 ^ 4 5 6 ^ 7 8 ^ 9 10 11 ^ 12 ^

hen analy!ing this, you will find that it consists of two groups of three counts and three groups of two counts, with the accent on the last beat of each group. "ike this: one-two-three-one-two-three-one-two-one-two-one-two #mphasi!e the last count of every group of three or two counts $and not the first: that%s the western way of producing a rhythm&. If you want to try to produce this rhythm, tap with your hand on the table regularly $about ' to ( beats per second&, while counting from one to twelve, and repeat this. )othing to it* +k. )ow try accentuating the marked beats above $,, -, ., '/, '(&. This usually takes some practice, some people even practice while walking, or climbing stairs, using steps as counts. hen you got it, try a faster pace0 the tempo of a bulerias can be anything up to ,// beats per minute. 1inally add some half-beats in between $ask a friend to mark the basic %comp2s%, as it is called&. )ow you have got the basics, in reality this is only a frame of reference, and the accents can be done differently $always related to the comp2s though&. The name %Buleras% most likely comes from %Burlar%, meaning %to 3oke%. This is reflected in the dance and te4t of the %letras%, and also in a musical way: there usually are a lot of musical 3okes and une4pected rhythmical and melodically turns. I%ll level with you: on average it can takes several years before one has internali!ed the comp2s sufficiently to fully appreciate a form like the Buleras, let alone to successfully engage in practicing this in front of an audience. 5o, you%ll have to fall in love with the music, and invest a lot of listening- and practice time. But it%s worth it, believe me.

Other forms with a measure of twelve counts

Alegras 6eaning cheerful, happy. This is the best known form of the family of 78anti9as7, another one is the 8aracoles. :as a somewhat slower pace than Buleras, but still very lively. ;sually played in ma3or, and has a cheerful <uality to it. Sole or Soleares 6ost likely derived from %soledad%, meaning loneliness, has a slower pace, and is profound in nature. The singing of this form is one of the %cante 3ondo% $deep song&. Sole por Buleras 5ometimes referred to as 3ust 5ole2, a bit confusing. This is a cross between 5oleares en Buleras: faster than 5oleares and slower than Buleras, less deep than 5oleares and more serious than Buleras. = very interesting and dynamic form. Seguiryias +ne could argue over this, but the compas of 5eguiryias $sometime written slightly

different& is sort of a twelve count comp2s in reverse. It is a very distinct form though, the basic accents are usually very clearly marked, while there is far less going on in between these accents, as compared to Buleras or 5oleares. This makes it sound as if it is a lot slower than 5oleares, while in fact the tempo may be higher, nevertheless giving a more tran<uil impression. 5ome people say the 5eguiryias has five counts, but they are being silly: they only count the accents, and think of them as counts, but counts are regular by definition, these accents are not. It is however an easy way to learn and remember the rhythm, by sort of saying it. It goes something like this: $and&-one-and-two-and-three-and-a-four-and-a-five >eep the intervals between the syllables regular, emphasi!e the actual counts and repeat. ?ou will find the same ,-,-(-(-( feeling as in Buleras, but in reverse: it%s (-(-(-,-,. The seguiryias is derived from the %Tona%, an ancient, a capella form of flamenco. ;ntil today, there e4ists a musical form in India with the same comp2s as 5eguiryias.

Still more forms in flamenco

=s you know by know, there are a lot of forms within flamenco. To clarify what I mean by form in this conte4t, it is easiest to make a comparison with standard western pop music. This of course includes a lot of different types of music, but two 7forms7 within all of pop music, e<uivalent to 7forms7 in flamenco would be 7ballads7 and non-ballads. There are many different ways to classify forms in flamenco, one common way is to take into account the level of seriousness or cheerfulness: there are so called 7cante chico7 $small songs& and 7cante 3ondo7 $deep, profound songs&. =nother way is to look at the rhythms involved, and the list below is an attempt at this classification.

Forms with a measure of three counts

Fandangos and Sevillanas These forms most likely originate in =ndaluca from before the 6ores. There is anecdotal evidence that dances with the same name were performed before some @oman rulers during the @oman occupation way before the 6ores got there. =lso, almost every village has it%s own version of 1andangos, while the other forms in flamenco tend to have sort of one %home town% where it originates. 5ome the these versions of 1andangos incorporate clearly non-flamenco instruments like tambourins and violins. 1inally, these are the only forms with one well defined structure of music, singing and dance. The 1andangos less so than the 5evillanas $there is even a %3ondo% version of the 1andangos, not so of the 5evillanas&, but the principal is the same. The structures are very similar in a way, the 1andangos is basically a scaled up version of the 5evillanas. The 5evillanas, as its name suggests, comes from 5evilla, and is very popular in the south of 5pain $somewhat less so

in the rest of 5pain&. ?ou can actually find the youth dancing to moderni!ed 5evillanas in the local disco.

Forms with a measure of four counts

=ll these forms most likely originated out of the cultural e4change between 5pain and 5outh =merica when the 5paniards went over there: they brought these "atin rhythms back to 5pain, and the Aypsies made their own versions of it. These kind of forms are called 7cantes de ida y vuelta7 $songs that went back and forth&. Rumba This is probably the most widely known form outside of flamenco. It is a popular, lighthearted form, with a wide range of variations, going from the 7@umba flamenca7 to the 7Aypsy >ings7 $this group does almost e4clusively @umbas&. It is not performed very often by professional flamenco companies. Tangos and Tientos This Tangos $sometimes called Tangos 1lamenca& has very little to do with the =rgentinean Tangos e4cept for the four-count measure. It is a more %flamenco% form then the @umba: it has a %tighter% swing and is more serious. The Tientos can be considered to be a slow Tangos, and is often classified as a cante 3ondo: it is a very serious and profound form. The name is thought to be derived from 7tentare7, meaning 7to touch7. Tanguillo "iterally: little tangos. It is not so much a 7chico7 $small, lighthearted& form of the Tangos, but a form in it%s own right. This form has survived very well in the flamenco 3oven movement, and has evolved a lot. By now it has a very particular and sometimes obscure rhythm, the basics of which is a division in triplets of every count. 8haracteristic is the way these triplets are pushed and pulled in the rhythm and the sense of multiple rhythms being played at the same time $something like 7, over B7, for those who know what I am talking about&.

Free forms
There is a whole class of forms know as 7cantes libre7 $free songs&. 71ree7 in this conte4t applies to the tempo, meaning that the tempo may vary. These forms are essentially slow $and free& versions of the 1andangos. The classic e4ample would be the 1andangos Arande or 1andangos )aturale. The rhythm and harmonic structure are basically the same as 1andangos, but there is a lot of liberty taken as far as the tempo is concerned, almost beyond recognition. +ther forms of this class are the Aranaina $from Aranada& and the 6alague9a $from 6alaga&. =ll these are profound in character similar to the cantes 3ondo.