Editing Flamenco (section)

=== Compás or time signature===
'''Compás''' is the Spanish word for [[metre (music)|metre]] or [[time signature]] (in classical [[music theory]]). It also refers to the rhythmic cycle, or layout, of a ''palo''.

The compás is fundamental to flamenco. Compás is most often translated as [[rhythm]] but it demands far more precise interpretation than any other Western style of music. If there is no guitarist available, the compás is rendered through hand clapping (''palmas'') or by hitting a table with the knuckles. The guitarist uses techniques like strumming (''rasgueado'') or tapping the [[sound board (music)|soundboard]] (''golpe''). Changes of chords emphasize the most important downbeats.

Flamenco uses three basic counts or measures: Binary, Ternary and a form of a twelve-beat cycle that is unique to flamenco. There are also free-form styles including, among others, the [[tonás]], [[Saeta (flamenco)|saetas]], [[Malagueñas (flamenco style)|malagueñas]], tarantos, and some types of [[fandangos]]:

*Rhythms in {{music|time|2|4}} or {{music|time|4|4}}. These metres are used in forms like [[tango (flamenco)|tangos]], [[tientos]], [[Rumba flamenca|gypsy rumba]], [[zambra]] and tanguillos.
*Rhythms in {{music|time|3|4}}. These are typical of [[fandangos]] and [[sevillanas]], suggesting their origin as non-Roma styles, since the {{music|time|3|4}} and {{music|time|4|4}} measures are not common in ethnic Roma music.
*12-beat rhythms usually rendered in amalgams of {{music|time|6|8}} + {{music|time|3|4}} and sometimes {{music|time|12|8}}. The 12-beat cycle is the most common in flamenco, differentiated by the accentuation of the beats in different palos. The accents do not correspond to the classic concept of the downbeat. The alternating of groups of 2 and 3 beats is also common in Spanish folk dances of the 16th century such as the ''zarabanda'', ''jácara'' and ''canarios''.

There are three types of 12-beat rhythms, which vary in their layouts, or use of accentuations: soleá, seguiriya and bulería:

#[[peteneras]] and [[guajiras]]: 1 2 '''3''' 4 5 '''6''' 7 '''8''' 9 '''10''' 11 '''12'''. Both palos start with the strong accent on 12. Hence the meter is '''12''' 1 2 '''3''' 4 5 '''6''' 7 '''8''' 9 '''10''' 11.
#The [[seguiriya]], liviana<!-- liviana links to a page about a genus of moths-->, [[Palo (flamenco)|serrana]], toná liviana, cabales: '''12''' 1 '''2''' 3 '''4''' 5 6 '''7''' 8 9 '''10''' 11 '''12'''. It could also be counted like starting a bulerías scheme from '''8''' (see below). 
#[[Soleares|soleá]], within the [[cantiñas]] group of palos which includes the [[alegrías]], cantiñas, mirabras, romera, caracoles and soleá por bulería (also "[[Bulerías|bulería por soleá]]"): 1 2 '''3''' 4 5 '''6''' 7 '''8''' 9 '''10''' 11 '''12'''. For practical reasons, when transferring flamenco guitar music to sheet music, this rhythm is written as a regular {{music|time|3|4}}.

The [[Bulerías]] is the emblematic palo of flamenco: today its 12-beat cycle is most often played with accents on the 3rd, 6th, 8th, 10th and 12th beats. The accompanying ''palmas'' are played in groups of 6 beats, giving rise to a multitude of counter-rhythms and percussive voices within the 12 beat compás. In certain regions like, Jerez, Spain, the rhythm stays in a simpler six-count rhythm, only including the twelve count in a musical resolve. This is like starting the counting at 9 so it goes this way: 9 '''10''' 11 '''12''' 1 2 - again, bold means the emphasis when clapping. In real life it is counted from 1 like: 1 '''2''' 3 '''4''' 5 6 and so on.

[[File:Flamenco Compas.theora.ogv|thumb|400 px|none|Flamenco [[Bulerías]] with emphasis as '''[12]''' 1 2 '''[3]''' 4 5 '''[6]''' 7 '''[8]''' 9 '''[10]''' 11 – also the rhythm for the song [[America (West Side Story song)|"America" from ''West Side Story'']]]]