| Beginning-level flamenco dance class |
| At the beginning level, you shoud know how to play these forms por arriba or por medio. You should know their llamadas and be able to recognize the dancer's cues. |
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A foundational form, this is the parent form for all the 4-count forms. |
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A foundational form, this is the parent form for all of the 12-count forms. |
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This exciting, high-energy 12-count form is closely assoiciated with the city of Jerez. |
| Intermediate/advanced flamenco dance class |
| Each of these forms involves changes in tempo and changes from section to section. You should know what these changes are and be able to recognize their cues. |
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A slow, 4-count form. |
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An upbeat, 12-count form in a major key closely associated with Cádiz. |
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A 12-count Ida y Vuelta form based on Cuban rhythms. |
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The hybrid form combining the music of the soleares and the tempo and beat structure of the bulerías. |
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A 12-count form with an unusual beat structure. |
| Group pieces in a tablao |
| These forms aren't difficult, but they are standards and you should be able to play any of them at a drop of a sombrero cordobés. |
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This quick 4-count festero form is closely associated with the Gypsy Kings. |
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A 6-count song and dance from the province of Huelva; performed frequently in tablaos. |
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This 6-count folk and classical dance from Sevilla is an instrinsic part of the Feria de Sevilla. |
| Flamenco solos performed in tablao or concert |
| These forms are dramatic and change tempo and section quickly. To play these forms successfully, the guitarists must work closely, almost telepathically, with the dancer and singer. |
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A 12-count form thought to be the ancient prototype for the soleares. |
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An arythmic form associated with a companion 4-count dance form, the tarantos. |
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A four count, primarily dance form. |