Debla: It belongs to the group of cantes without the guitar, and its melismatic ornamentation is more plentiful than the other ones of the group. It is a difficult style to perform and it requires the cantaor to have qualities and favourable faculties apart from the knowledge of the style.
Corrido gitano: It is also called "corrida". It is a cante without any musical accompaniment, like Tonás, that come from the popular Andalucian Romances, so many studious people have classed it as the oldest of the flamenco styles and the father of the aforementioned Tonás. In "La gitanilla" of Cervantes already mentions this style, so according to Blas Vega, "the Romances remained already in the popular soul throughout the 15th century". These consecutive and monorhythmic songs are not accepted by the upper class, so they spread among the common people, and the "Plebeian Romances%u201D come up. They sing them with the high voice with long and marked cadences."
Colombiana: Cante with the Spanish-American origin, gestated by José Tejada Martín, Pepe Marchena, who has been the first in perform this style apart from being its creator. Marchena invented this cante together with Hilario Montes taking the Spanish Rumba as a base and announced it for the first time accompanied by the cantaor from Madrid Niño de la Flor. In opinion of José Blas Vega when he studied the styles of Ida y Vuelta ( flamenco styles which origin is Latin-American music ), "towards 1930, a new style the Colombiana, which is motivated more by a song than by the folkloric influx, and which can be from Colombia, also appears." In general, people do not dance with it. They only sing and play Colombiana, but since it is a very rhythmical music, it is possible to dance with it.
Cartagenera: It belongs to so-called "cante minero-levantino". Even though its origin was a folk Fundango, typical of Cartagena, it forms the part of flamenco tradition since the last third of the 19th century. It is one of the most difficult cantes of the range of "minero-levantino".
Carcelera: It is a cante related with a group of Tonás. The theme of the lyrics is prisons and people who are condemned. It is sung without the guitar.
Caracoles: It belongs to the same group as the cantiñas, and the compás is the same. Even though its origin is Andalucía, people think that it is from Madrid because the lyrics of the well-known Caracoles refer a lot to the capital of Spain. Caracoles were performed at Cafés Cantantes and are more suitable for women.
Cañas: Caña can be considered as the most important base of cante of flamenco. Its melodic influence can be perceived not only in many minor cantes, but also in some old styles which are frequently considered as originals. Some prestigious opinions put Soleás and even Seguiriya as the older cantes than Caña. However, Soleá could be the one which segregated from Caña. Caña, which people use and cover all the repertoire of the voice, is extremely difficult to sing and it requires, to be expressed with purity, not only a perfect knowledge of the style, but also vocal faculties of expression.
Cantiñas: The cantiñas are a group of styles of flamenco, typical of the city of Cádiz, los Puertos and Jerez de la Frontera. So it is synonymous of the term "Cantes of Cádiz" like Alegrías, Mirabrás, Romeras, Caracoles, Rosas and Cantiñas themselves. The metrics of all these is the same as Soleá, but because of its festive characteristic, the tempo is quicker.
Campanillero: Strictly speaking, the Campanilleros are not Flamenco cantes. In modern times, the Campanilleros have been related to the Christimas celebration in Andalucia. They come from the folklore which happened to be considered as Flamenco due to the custom of Andalucian gypsies to sing their own version during the Christmas celebrations. The melody itself is beautiful and evoking. The verses normally have a religious theme.
Bulerías por Soleá: In general, people think that it is a Soleá performed quicker, making itself similar to the Bulerías, when it actually is other way around. It is a mentioned Bulería with tempo of Soleá, nevertheless, with more alive and stressed rhythm than Soleá. This style is called by various different names: Soleá por Bulería, Soleabulería, Bulerías al golpe, Bulería pa escuchar. It is originally a cante of Jerez and its melody is clearly different from the melodies of Soleá even though many professionals and aficionados cannot distinguish it from Soleá.
