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I mentioned in a previous article that standard western pop music usually has a pattern based around the bar or measure. Many forms of music do not adhere to this and may have a pattern that repeats around groups of 2, 3, 4 or more bars. By allowing for different stress patterns within the group, the overall rhythm can become more complex.

Flamenco is a great proponent of this. Even in the periods of music with no melody (when you can just hear the hand-clap and/or the percussionist), the rhythm should be very noticeable. The compás is so fundamental to the music.

Just as we commonly use 4/4, 3/4, 6/8, etc for rhythms, flamenco has its own variations. These variations introduce different stress patterns in the groups of bars. For instance, the stress pattern in a Seguiriya will be different from that in a Sevillanas.

Note how rhythmically a Fandango is roughly equivalent to 3/4.

The aim isn't for anyone to become immediately proficient in any form (let alone all forms) of flamenco, but instead to be able to take a part of the flamenco concept and apply it to their own compositions. In this case, I'd suggest focussing on the rhythm to start with.

Esflamenco.com has a great set of pages looking at the different Palos that form the compas.

Flamenco World has a good introduction to flamenco including a good listening guide.

Juan Martin's El Arte Flamenco de la Guitarra book and cd is still the standard teach-yourself book and gives a good grounding in flamenco, not just the guitar parts.

Chuck Keyser's pages are a good place to go for a more in-depth analysis.

Part of a series by Award Sounds offering a selection of creative ideas to kick-start or rejuvenate a composition.

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