Eight major forms by compás, region and mood. Soleá, siguiriya, tangos, fandangos, bulería, alegrías, the mining songs of the Levante, and farruca. How each palo asks something different of the guitar.
What compás is and why it is not a time signature. The twelve-beat cycle. The four-beat forms. Free rhythm, and the repertoire the guitar does not accompany at all.
Soleá and the claim that it is the mother of flamenco. Siguiriya and the deep register. Tangos, and why they are not Argentine. Fandangos, a family rather than a form.
Bulería and the freedom a fixed compás permits. Alegrías and the cantiñas of Cádiz. The mining songs of the Levante. Farruca, and the guitar as a solo instrument.