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Here's a sample from the documentary "GOOD SINGING HURTS"
'Sentez-vous ma douleur, ressentir ma tristesse, parce que je vais aussi ressentir votre douleur, lorsque vous mourrez.'
DESCRIPTIONS + VIDEOS!SoleaLa soleá -de soledad; plural, soleares-, es el estilo flamenco considerado como centro neurálgico del arte jondo. En su estructura musical guarda buena parte de los elementos rectores (melodías, ritmos, armonías) de la estética musical propia del género flamenco, pero no por ello es la soleá el más antiguo estilo del flamenco, aunque ningún otro aire ha tenido tal capacidad de sumar valores y calidades específicas del arte jondo como las soleares.
Surge de la evolución de un género musical de enorme implantación en el XIX andaluz, un estilo que conjuga rítmo y compás, con cadencias melódicas sentimentales y un soporte literario conforme a la expresión popular: El Jaleo, producto de la sabia alquimia que en Andalucía la baja supieron hacer con la jota, el fandango y la seguidilla. 
Solea por BuleriasEs uno de los estilos más discutidos en cuanto a su estructura musical. En general se cree que se trata de una soleá realizada más rápido, acercándose al aire de las bulerias, cuando en realidad es a la inversa; no es más que una bulería dicha a tiempo de soleá. Tanto es así, que en las primitivas placas de pizarra muchas veces venían con el título de bulería. El género recibe varios nombres alternativos: soleá por bulería, soleabulería, bulerías al golpe, bulería pa escuchar. Es un cante de origen jerezano y su melodía es claramente diferente a las de soleá aunque sean muchos los profesionales y aficionados que no aciertan a distinguida de la soleá.
DESCRIPTIONS + VIDEOS!La Famille de CantinasLas cantiñas más cultivadas por los artistas y las más celebradas por el público desde los primeros años del género son las alegrías. El contrapunto idóneo a la soledad. Eso es el flamenco, desde la alegría y la juerga hasta la soledad y el llanto, la música que reconforta los sentidos tanto como los hiere.
Las alegrías se formaron a partir de la jota, el más extendido de los géneros populares españoles. La jota sirvió de marco a la exaltación popular desde mediados del XVIII hasta bien entrado el siglo XX, y los flamencos la tomaron para recrear en clave artística un ‘canto alegre’ que contrastara con el dramatismo de los otros cantes del repertorio. 
SiguiriyasSiguiriyas (Spanish pronunciation: [seɣiˈɾiʝas]; also seguiriyas, siguerillas, siguirillas, seguidilla gitana, etc.) is a form of flamenco music belonging to the cante jondo category. Its deep, expressive style is among the most important in flamenco. The siguiriyas are normally played in the key of A Phrygian with each measure (or compás) consisting of 12 counts.
MARTINETE
El Calor De La Fragua Duquende Soy fuerte como el acero Pero su mira me ablanda Como se ablandan los hierros Con el calor de la fragua Tres dias de borrachera Llevo por triana Pa quitarme del sentio La cara de esta gitana Esta es la historia Que no le des mas vueltas Esta es la historia Te comas lo que te comas Que siempre te sepa a gloria
PetenerasIt is believed to be a very old style of song, as it was already mentioned by writer Serafín Estébanez Calderón in the mid 19th century, and the adherence to the rhythm of the old zarabanda seems to confirm its age. Several theories have been suggested as to its origin, although there is not enough evidence to sustain any of them unerringly:
Theory of Paterna. This popular theory sustains that this palo originated in the town of Paterna de Rivera in the province of Cádiz. According to a legend, the name of the song refers to a cantadora (woman singer) called "La Petenera", who was born there. She was reported to be, owing to her seduction power, the "damnation of men". The name "Petenera" would be a phonetic corruption of "Paternera" (born in Paterna). This theory was sustained by folklorist Demófilo. Theory of the Jewish origin. According to this theory, suggested by flamencologist Hipólito Rossy, the petenera originated in the songs of Sephardi Jews. He even assured that Sephardi Jews in the Balkans still sang the lyrics that contain the verse of the Petenera as the "damnation of men" Some modern theories situate the origin of the Petenera in Petén, a department (administrative region) of Guatemala. 
Fandangos
SevillanasSevillanas (Spanish pronunciation: [seβiˈʝanas]) 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. They are sung by a plethora of local groups, like the Los Romeros de la Puebla, Los Amigos de Gines, Las Corraleras de Lebrija, Cantores de Hispalis, and Los del Río. Every year, dozens of new sevillanas on CD are published.
Sevillanas can be heard mainly in fairs and festivals, including the famous Seville Fair, Feria de abril de Sevilla. There is an associated dance for the music: "Baile por sevillanas", consisting of four different parts. One can find schools teaching "baile por sevillanas" in nearly every town in Spain. 
DESCRIPTIONS + VIDEOS!
In flamenco a tango (Spanish pronunciation: [ˈtaŋɡo]) is one of the flamenco palos closely related in form and feeling to the rumba flamenca. It is often performed as a finale to a flamenco tiento. Its compás and llamada are the same as that of the farruca and share the farruca's lively nature. However, the tango is normally performed in the A Phrygian mode. In some English sources the flamenco tango is written with an -s; "the tangos is..."
The flamenco tango is distinct from the flamenco rumba primarily through the guitar playing. In Rumba the guitar flows more freely, whereas in Tangos the accents on beats 2, 3 & 4 are marked clearly with heavy strumming. Tangos is only vaguely related to Argentine tango, and objectively they only share compás binario or double stroke rhythm. The fact that Argentine tango is one of the first couple dances in America has led historians to believe that both could be based in a minuet-style European dance,[1] therefore sharing a common ancestor, while those who compare the present day forms do not see them as related.[2] 
Tarantos
RumbaRumba flamenca, also known as flamenco rumba or simply rumba (Spanish pronunciation: [ˈrumba]), is a palo (style) of flamenco music developed in Andalusia, Spain. It is known as one of the cantes de ida y vuelta (roundtrip songs), music which diverged in the new world, then returned to Spain in a new form. The genre originated in the 19th century in Andalusia, southern Spain, where Cuban music first reached the country.
Rumba flamenca was primarily influenced by guaracha, an uptempo style of vocal music which originated in Havana's musical theatre.[1][2] Some elements from Cuban rumba were also incorporated, although minor, despite the name.[3] Although unlikely, both guaracha and Cuban rumba might have been influenced by flamenco earlier in the 19th century. Guarachas can be traced back to the Spanish jácaras, thus justifying the classification of rumba flamenca as a cante de ida y vuelta.[1] The first rumba flamenca recordings were made by La Niña de los Peines in the 1910s. During the late 20th century, Paco de Lucía, together with percussionist Rubem Dantas, incorporated Afro-Peruvian musical elements such as the cajón (wooden box) and certain rhythms.[4] 
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