1 2 3 4 5 6 7 8 9 10 11 12 ^ ^ ^ ^ ^When analyzing 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. Like this:
one-two-three-one-two-three-one-two-one-two-one-two
Emphasize 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 1 to 2 beats per second), while counting from one to twelve, and
repeat this. Nothing to it? Ok. Now try accentuating the marked beats above
(3, 6, 8, 10, 12). This usually takes some practice, some people even practice
while walking, or climbing stairs, using steps as counts. When you got
it, try a faster pace; the tempo of a bulerias can be anything up to 300
beats per minute. Finally add some half-beats in between (ask a friend
to mark the basic 'compás', as it is called). Now 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 compás though).
The name 'Bulerías' most likely comes from 'Burlar', meaning
'to joke'. This is reflected in the dance and text of the 'letras', and
also in a musical way: there usually are a lot of musical jokes and unexpected
rhythmical and melodically turns.
I'll level with you: on average it can takes several years before one
has internalized the compás sufficiently to fully appreciate a form
like the Bulerías, let alone to successfully engage in practicing
this in front of an audience. So, 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.
Soleá or Soleares
Most 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 jondo' (deep song).
Soleá por Bulerías
Sometimes referred to as just Soleá, a bit confusing. This is
a cross between Soleares en Bulerías: faster than Soleares and slower
than Bulerías, less deep than Soleares and more serious than Bulerías.
A very interesting and dynamic form.
Seguiryias
One could argue over this, but the compas of Seguiryias (sometime written
slightly different) is sort of a twelve count compás 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 Bulerías or Soleares. This makes it sound as if it is a lot slower
than Soleares, while in fact the tempo may be higher, nevertheless giving
a more tranquil impression. Some people say the Seguiryias 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
Keep the intervals between the syllables regular, emphasize the actual
counts and repeat. You will find the same 3-3-2-2-2 feeling as in Bulerías,
but in reverse: it's 2-2-2-3-3. The seguiryias is derived from the 'Tona',
an ancient, a capella form of flamenco. Until today, there exists a musical
form in India with the same compás as Seguiryias.
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 "Rumba flamenca" to the "Gypsy Kings" (this group does almost
exclusively Rumbas). It is not performed very often by professional flamenco
companies.
Tangos and Tientos
This Tangos (sometimes called Tangos Flamenca) has very little to do
with the Argentinean Tangos except for the four-count measure. It is a
more 'flamenco' form then the Rumba: 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 jondo: it is a very serious and profound form. The name is thought
to be derived from "tentare", meaning "to touch".
Tanguillo
Literally: little tangos. It is not so much a "chico" (small, lighthearted)
form of the Tangos, but a form in it's own right. This form has survived
very well in the flamenco joven 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. Characteristic 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 "3 over 4", for those
who know what I am talking about).