Spanish dances

Flamenco () is an art form based on the various folkloric music traditions of southern Spain, developed within the gitano subculture of the region of Andalusia, and also having historical presence in Extremadura and Murcia. In a wider sense, the term is used to refer to a variety of both contemporary and traditional musical styles typical of southern Spain. Flamenco is closely associated to the gitanos of the Romani ethnicity who have contributed significantly to its origination and professionalization. However, its style is uniquely Andalusian and flamenco artists have historically included S

thumb|Festeros parading pasodoble as a military march thumb|right|Pasodoble on ice: Luca Lanotte & [[Anna Cappellini]] thumb|260px|Poster for a bullfight in Barcelona

thumb|upright=1.4|A sarabande in binary form by Johann Kuhnau

thumb|The "Ciaccona" from Johann Sebastian Bach's Partita for Violin No. 2 (Bach)|Partita for Violin No. 2

Spanish folk dance and music

250px|thumb|Muixeranga of Algemesi The Muixeranga () is the collective name given to the performance of ancient street dances and human pyramids or castells, originating in the ancient Kingdom of Valencia (currently the Land of Valencia), which are still preserved in the town of Algemesí, southwest from Valencia, and certain other Valencian towns.

thumb|Eighteenth century Castile (historical region)|Castilian fandango dancers (by [[Pierre Chasselat) (1753–1814)]] thumb|right|250px|Fandango rhythm.

The sardana (; plural sardanes in Catalan) is a Catalan musical genre typical of Catalan culture and danced in circle following a set of steps. The dance was originally from the Empordà region, but started gaining popularity throughout Catalonia from the late 19th century to beginning of the 20th century after the modernisation done by Josep Maria Ventura i Casas.

music and type of dance

Sevillanas () are a type of folk music and dance of Sevilla and its region. They were derived from the Seguidilla, an old Castilian folk music and dance genre. In the nineteenth century they were influenced by Flamenco. They have a relatively limited musical pattern but are rich in lyrics based on country life, virgins, country towns, neighborhoods, pilgrimage, and love themes.

thumb|Seguidilla dancing, 18th century The seguidilla (; ; plural in both English and Spanish seguidillas; diminutive of seguida, which means "sequence" and is the name of a dance) is an old Castilian folksong and dance form in quick triple time for two people with many regional variations. The music is generally in a major key and often begins on an offbeat.

thumb|300px|Soleá at concert. Soleares (plural of soleá, ) is one of the most basic forms or palos of Flamenco music, probably originating among the Calé Romani people of Cádiz or Seville in Andalusia, the most southern region of Spain. It is usually accompanied by one guitar only, in phrygian mode "por arriba" (fundamental on the 6th string); "Bulerías por soleá" is usually played "por medio" (fundamental on the 5th string). Soleares is sometimes called "mother of palos" although it is not the oldest one (e.g. siguiriyas is older than soleares) and not even related to every other palo (e.g. f

The muiñeira (Galician: muiñeira, Castilian and Asturian: muñeira) is a traditional dance and musical genre of Galicia and some parts of Asturias (Spain). It is distinguished mainly by its expressive and lively tempo, played usually in Time signature|, although some variants are performed in other time signatures. There are also variant types of muiñeira which remain in the tempo of but which displace the accent in different ways. Muiñeira is associated with traditional choreographic schemes and the associated instrumentation is a form of bagpipe known as a gaita. It is subject to highly varie

Zambra () (from Andalusi Arabic zamra, originally from classical Arabic zamr) is a style of flamenco dance, typical of the Romani people of the provinces of Granada and Almería (Andalusia, Spain).

Alegrías () is a flamenco palo or musical form, which has a rhythm consisting of 12 beats. It is similar to Soleares. Its beat emphasis is as follows: 1 2 [3] 4 5 [6] 7 [8] 9 [10] 11 [12]. Alegrías originated in Cádiz. Alegrías belongs to the group of palos called Cantiñas and it is usually played in a lively rhythm (120-170 beats per minute). The livelier speeds are chosen for dancing, while quieter rhythms are preferred for the song alone.

right|thumb|Dance notation|Dance score for , by [[Friedrich Albert Zorn.]]

thumb|José García Ramos. Baile por Bulerías. 1884

thumb|Trikiti being played thumb|right|Performance featuring a trikiti with tambourine accompaniment The trikiti (standard Basque, pronounced ), trikitixa (dialectal Basque, pronounced ), or eskusoinu txiki ("little hand-sound", pronounced )) is a two-row Basque diatonic button accordion with right-hand rows keyed a fifth apart and twelve unisonoric bass buttons. The onomatopoeia trikitixa, apparently stemming from the sound emitted by the tambourine, originally referred to a traditional Basque ensemble, made up of the instrument which now bears the name as well as alboka, txistu and other ins

genre of anonymous spiritual song in vernacular, imitating the psalmody of the church (canonical) liturgy, which emerged in Catholic Spain in the 17th century; Cante jondo subgenre, which emerged at the end of the 19th century

Tiento (, ) is a musical genre originating in Spain in the mid-15th century. It is formally analogous to the fantasia (fantasy), found in England, Germany, and the Low Countries, and also the ricercare, first found in Italy. By the end of the 16th century the tiento was exclusively a keyboard form, especially of organ music. It continued to be the predominant form in the Spanish organ tradition through the time of Cabanilles, and developed many variants. Additionally, many 20th-century composers have written works entitled "tiento".

dance and traditional music of Andalusian (Spanish) origins

Farruca () is a form of flamenco music developed in the late 19th century. Classified as a cante chico, it is traditionally sung and danced by men. Its origin is traditionally associated with Galicia, a region in northern Spain.

Spanish traditional song

flamenco palo or musical form, closely related in form and feeling to the rumba flamenca

type of dance

thumb | right | alt=Julia Fons dancing the garrotín at the Teatro Eslava, 1911 | Julia Fons dancing the garrotín at the Teatro Eslava, 1911 Garrotín is a style of improvised song, featuring (palo) flamenco singing, dancing, and guitar playing, which developed near the end of the nineteenth century in Asturias, in northern Spain. It is played or sung in a Major mode, and a simple 2/4 meter, and has a cheerful and festive character. After being introduced into the flamenco repertoire, garrotín was further developed by singer Pastora Pavón ("Niña de los Peines"), and has been recently popularized

Martinetes (, sing. martinete) are a flamenco palo belonging to the group of the tonás or cantes a palo seco. As the rest of the songs in this group, it is sung with no accompaniment. In some dance shows for the stage, though, it is accompanied by percussion played with the compás of siguiriya. The percussion instruments chosen for this are frequently a hammer and anvil, to evocate the origins of this palo, attributed to Gypsy smiths. It is not probable, though, that they were real work songs: they demand too much effort and faculties to be sung while carrying out a heavy task like that of a s

Spanish festival

Collection of pieces for piano and violin by Sarasate

Alboreá is a singing style whose name comes from alboradas singing which refers to albor ('dawn'). This singing has a Castilian origin.

thumb|Procession of the Matachines in Monterrey, [[Mexico]] thumb|Matachines dancers in Ohkay Owingeh, New Mexico, 2012 Matachines (Spanish singular matachín; sword dancers dressed in ritual attire called bouffon) are a carnivalesque dancers performing a dance that emerged in Spain in the early 17th century, inspired by similar European traditions such as the moresca. The term danza de matachines refers to their characteristic dance and music. The dance was documented in the 1642 treatise Discursos sobre el arte del dançado by Juan de Esquivel Navarro. The tradition was imported into Latin Ame