Song structured on a ´copla´, similar to the classic ´seguidilla castellana´. It is formed by four or seven verses which in both cases are seven syllables. The first and third are free style and of five syllables, and assonant the other two. It is the archetype of the folk song and was always meant to accompany a dance. It is composed of four different 'coplas', each of which has a different choreography. 

This song is performed in all the places of Andalusia during the Easter processions. Really it is not an independent and solid style, but instead of employing words relating to the Passion for Christ, it is executed in the style of the group of 'tonás' - 'seguiriya', 'martinete', 'debla', 'carcelera' and adorned with a large quantity of 'melisimas'. Although the main scheme of the melody remains intact. The word Saeta proceeds from the first chants of the Brothers of Mortal Sin ('Hermanos del Pecado Mortal') performances and those of Aurora around the XVIII century.  

Song with a 'copla' of three, four or eight syllables, verses, with a consonant rhyme. It could have been originated in the XIX century in order to accompany a dance called 'jaleo'. However, little by little it did turn into a song with its own identity. The first reference to this style is that of 'Andonda', a singer from Triana (Seville) who went down in history for her singing. It can be deduced that the 'soleá' was originated from Triana and this became popular very quickly. A gipsy called Paula went with all her family to Alcalá de Audaira, and founded there the 'Saga de los Gordos'. People took the song of 'soleá' from Triana, however, in 'Virgen del Águila' a new autodidactic style arose that has lasted until today. According to Antonio Mairena, Joaquín el de la Paula is the most representative performer of this style although Juan Talega and Manolito de Marcía have to be mentioned too. 

Song with a 'copla', generally three, four or eight syllables, verses of a festive and noisy character. Etymologically it could come from the word ´mock´, in Spanish ´burla", and from this came to the name of 'buleria'. It is dated from the XIX century and was born from the 'soleá', a style from which it takes its beat to increase the rhythm. In this song two variations can be distinguished

• 'Bulerías' to dance, which present a multitude of styles.

• 'Bulerías al golpe' created more for listening to music and also called 'bulerías por soleá', a style which for some experts was prior to the 'bulería' itself. 

For some theorists, this song is the most primitive that exists. It´s structured on a beat of 3/4 and has a great tonal variety. They are 'coplas' of five or eight syllables, verses that usually are converted into six by the repetition of one of them.

It seems that the 'fandango onubense' came from Alosno and from this place, it was distributed through Andévalo, the mountain range and the capital. Since then it has been possible to study an infinite number of different styles. 

Four particular artists can be underlined: 

• José Rebollo

• Paco Isidro 

• Antonio Rengel 

• Paco Toronjo

This kind of song is normally composed by four verses, the first two and the last are six syllables, and the third is eleven syllables, divided in two parts per verse of five and six syllables but you can also find those with three verses. Its origin, although uncertain, has to be dated from the genesis of flamenco, since there is proof that it was sung in the XVIII century. It is by excellence a song of sorrow and presents an extensive variation in style. The accents of its beat has lead many people into thinking that it is an 'amalgama´ beat. It is 12/8 in which the silences play an important part. It is always accompanied by half modal tones although some personal styles present brief supporting major chords. These changes in rhythm are known as 'acabalados´, due to their similarity to the 'cabal´. 

Song with a 'copla' of three, four or eight syllables, verses. Considered one of the basic styles of flamenco. The 'tango' has varied styles, among which those of Cádiz, Triana, Jerez and Málaga stand out. All theories indicate that the cradle of the 'tango' has to be split between Cádiz and Sevilla, ruling out any relation with the 'tango' from Argentina. It is possible that they came from the old danceable songs of the XIX century and as time passed they were transformed into what we now know, a song executed in 4/4 in all possible tonalities. 

Song with 'copla' of four or eight syllables, verses that belongs to the group of the 'cantiñas'. It came about as a danceable song and it is formed by a succession of 'coplas' among which the so called 'juguetillos' are usually interspersed.  It is eminently a style from Cádiz although another very peculiar version can be found in Córdoba and it is related to the old jig from Cádiz. The dance is difficult to execute and it is characterised for having very fixed 'escobillas' and a calm part called 'silencio' and in it, the traditional 'tirititrán' is vocalised.  According to Chano Lobato it was invented by Ignacio Espeleta during a party in which he forgot the words. History has marked Aurelio Sellés, Pericón de Cádiz, Fosforito, la Perla or Camarón as great performers of this genre.