Tonás
Song with a 'copla' of three or four, eight syllable, verses, the second and the forth have a assonant rhythm, that is usually finish with an imperfect terceto. For nearly all experts it is the 'cante madre' mother of flamenco, and from this come all other. Its origin is uncertain although it could have its history in the 'romances' or 'corridos gitanos' that El Planeta and Tio Rivas performed. Its birth could be dated as around 1770 in Jerez and in Triana. It is a song without any musical accompaniment which encompasses in a generic form the 'martinetes, 'deblas' and 'carceleras'. Many 'tonás' have gone down in history with a name of thier own, thanks above all to the writers Ricardo Molina and Antonio Mairena, who don't stick too much to rigor. Despite this, they speak of the 'toná liviana' of Tio Luis de la Juliana', 'toná del Cristo', 'toná de los pajaritos, 'toná del Tio Luis el Cautivo' , 'toná de Blas Barca', 'toná del Tio Rivas', 'toná del Cuadrillero', 'toná liviana de Curro Pabla', 'toná liviana de Juan el Cagón' , 'toná liviana de Tia Sarvaora', 'toná de la Junquera', 'toná de jaunelo', 'toná de Perico Frascola'.
