Saeta: Popular canticle which extended to all over Spain. Generally it is performed for the processions of Holy Week and it is dedicated to the statues. It is a cante without accompaniments even though in the records, it is usually presented with the BGM of the religious march, mainly the one with drum and the trumpets; sometimes they also have also recorded with the accompaniments or BGM of the guitar. The theme of its verses is obviously the Passion and the Death of Jesus Christ and all the circumstances that surround them.
Rumba: It is Spanish-American and it became popular in Spain through the theater and the shows of varieties, from where the flamenco performers took it, giving a festive air between Tango and Bulería. The baile presents predominant manifest of the characteristics of gypsies (vital energy, passion, violent movements) over the Andalucian ones ( punteados ( plucking technique), harmonic movements, grace), and contains a large number of desplantes (the full sole of strong foot striking or stamping upon the floor) and convulsive movements and movements of torsion. The traditional flamenca Rumba has kept being the territory of the bailaora who normally dances alone.
Rondeña: It is considered as the oldest Fandango known and sung today. Currently, people dance Rondeña, but with the air that evokes Taranto, called Rondeña por Zambra, so the bailaores and bailaoras offer a baile similar to Taranto, but more open and more flowery.
Romera: It is a Cantiña very typical for dancing because of the uniting of its rhythm. The baile is similar to the ones of Alegrías, with the same compás as the Alegrías but in a different musical tone, and all the characteristics coincide to be performed by both sexes: gentleness of the arms, gracious and elegance.
Romance: This style is also called "Corrido" or "Corrida" because of its way of singing. No musical instruments accompany so it is very possible that this is the most primitive style of flamenco and from where the Toná originated. Nowadays, it is not frequent to perform this style of cante.
Polo: Polo appears as flamenco cante at the beginning of the 19th century, and generally, people sang to continue the Caña as verse or closing phase of it. When people talk about Polo, they make a distinction of 2 styles: Polo natural and Polo de Tobalo. The modality of Polo that is performed today is Polo natural, which is normally finished off with Soleá.
Petenera: cante with slow intonation, solemn, emotional and sometimes sententious. This style is always covered with legends and for the gypsies to whom they attribute this cante has always had "mal fario (bad luck)". So the gypsy cantaores have avoided to sing it and also to hear it. The baile of this style is typical for women. As an accompaniment, the castanet can be used even though finger-snapping, the soft or muffled hand claps, and above all, the silent language of the hands are preferable. Other folkloric Andalucian dance with the same name exists. It was created before the previous Petenera with more vivacious rhythm and accompaniment of the castanets and the piano.
Nana: Nana means cradle song. It is a cante with copla that presents variety of forms and verses, which adjust to the rocking of the cradle. Even though it is not exactly a cante flamenco, it is usually included in the flamenco-inspired folkloric cantes of Andalucía. The children%u2019s Nanas have been sung in all the regions of Spain, but in Andalucía, they always had a peculiar intonation and they recreated it basing on the flamenco. It is a sweet cante without excessive ornaments or Melisma, and the style reminds of the childhood.
Mirabrás: It is a Cantiña and is typical cante for dancing, more artistic than deep, which requires the cantaor great faculties to sing it. The accompaniment of the guitar provides an elegant, lively and cheerful music. Its lyrics usually refer to typical proclamations of the markets and street vendors, mainly as chorus.
Minera: The origin of this cante is a local Fandango. It belongs to the group of "cantes mineros", constituting a very defined and marked modality of the Taranta. The professional cantaors of today do not usually include the cante of Mineras in their repertoires for the audience, even though they do choose these cantes for the commercial records.
