Fandangos
Fandangos, Tarantas, Granadinas, Malaguena, Rondena
These cantes/guitar solos are called the intermedio forms, and although the cante is without compas, guitar falsetas are interpreted in 3/4 or 6/8 phrases. Since the cante is without compas, they are not danced.
The bases of these cantes are the Phrygian mode in the various keys, but the cante has a common structure in the relative major of each of these keys. The "Fandangos copla progression" for E Phrygian mode is performed in C major (C -> F -> C -> G7 -> C -> F -> E); it is transposed to the other keys of the members of the family.
Fandangos (de Triana, or Grande)
This toque is performed in E Phrygian, with the cante accompaniment in C major. It can approach the cante grande category in interpretation.
Tarantas
This toque is performed in F# Phrygian. (Letras/solo falsetas are often performed using secondary dominant sequences ).
Granadinas
This toque is performed in B Phrygian, with the cante accompaniment in G major.
Malaguenas
This toque is performed in E Phrygian, with the cante accompaniment in C major.
Rondena
The name of Rondena is applied to two forms in Flamenco. The first is a form of cante similar to that of Verdiales; the second is a guitar solo originated by Don Ramon Montoya, in which the 3rd string is detuned to F# and the 6th string to D. The toque is then interpreted in the C# Phrygian mode, which necessitate rethinking the physical chord and scale patterns on the guitar neck, for sure!
Guajiras
The Guajiras is a cante/baile derived from Cuban themes; it is in strict alternating measures of 6/8, 3/4 in A Major. Letras deal with wistful remembrances of daily scenes in Cuba.
Siguiryas
The Siguiriyas is one of the two most important cante jondo rhythms (the second being Soleares). The themes of Siguiryas are truly tragic - death, existential alienation, unrequited love, despair, desolation, and loneliness.
The compas is usually interpreted in A Phrygian, and is in strict alternating measures of 6/8, 3/4; however, a compas cycle begins on the 2nd count of the 3/4 measure and ends on the 1st count of the next 3/4 measure in the sequence. The resolution phrase begins on count 3 of the 6/8 measure:
There are very few dancers who can interpret the dance with the equivalent intensity of the great cantores (singers). Nino Ricardo was especially known for his Siguiriyas guitar falsetas.
Serranas
The Serranas is a cante with the same compas structure as the Siguiriyas. However, it is not nearly as intense - its themes revolve around the concerns of and about mountain bandits. It is interpreted in the key of E Phrygian, with a "lament" similar to that of the Cana; it is rarely danced.
Fandangos de Huelva (Fandanguillo), Fandangos de Malaga (Verdiales), Sevillanas
These cantes/bailes are derived from Fandangos, and are rhythmic manifestations of the cante - as such, they are less serious (actually lighthearted in many cases).
Fandangos de Huelva (Fandanguillo)
The Fandangos de Huelva has a 12-count marking (i.e., chording) compas (two measures of 3/4 time) in E or A Phrygian mode that immediately identifies it. Its coplas (verses) are structured in six 12-count compases in the relative major (C or F) in the traditional Fandangos chord progression. (There are versions in Am, however.)
The marking compas is generally interpreted by dance steps in 3/4 or 6/8 similar to those of Bulerias, or are derived from the classic school of the Escuela Bolera , similar to Sevillanas. The coplas are usually interpreted by 12 count steps similar to the Paseos of Soleares and Alegrias.
The finale of Fandangos de Huelva has a traditional form of cante with letras (words):
"arimate, ay, gitana mia (Jaleo Bulerias steps)
yo no puedo vivir sin ti
vivir sin ti, ay, no puedo mas (desplante)
gitana mia, me va matar
quitate del sol que te quema (desplante)
quitate del sol que te pone
que la carita morena"
A typical Fandangos alternates marking with coplas, finishing with the finale.
Palmas accompaniment to Fandangos de Huelva is similar to Dobles, except that the clap on count 5 is omitted.
Fandangos de Malaga (Verdiales)
Like the Fandangos de Huelva, the Verdiales has a marking compas that immediately identifies it, and uses the rasgueado often identified by the public as "Spanish" guitar; it is performed in the E Phrygian mode. As its name suggests it comes from the hills around Malaga; it is more folkloric than flamenco, and the dancers often wear beribboned hats and accompany with oversized castanets.
Its cante uses the traditional Fandangos chord sequence in its relative major (C). Palmas accompaniment is Dobles, as for Bulerias.