Flamenco without compás? An introduction to cante libre

Compás (rhythm) is fundamental to flamenco. It’s the underlying pulse behind the performance and part of the identity of this art form found in the dominant strumming, footwork and palmas (clapping) of flamenco.

And for us students trying to make sense of it all? Compás is essential! Compás is one of the first things we learn as flamenco students, whether we come to it from guitar, dance or singing.

In my own flamenco journey, understanding the compás has been an ongoing learning exercise, and I don’t think I’m alone. Struggling with the compás is a perfectly normal part of learning flamenco!

It sounds liberating to just forget about the timing and go at your own speed, doesn’t it?! Well, for singers, it’s possible!

Introducing, cante libre! Literally meaning ‘free song’, cante libre is sung flamenco performed without compás, with no rhythmic structure at all.

What is cante libre?

Cante in flamenco is never really ‘fixed’ as singers always have degrees of freedom in how they interpret and perform each palo (style). But that freedom really peaks in cante libre as the singer is completely unrestrained by any rhythmic metre.

That doesn’t mean that cante libre is completely random! The singer is still constrained by elements of the palo such as the melody and the framework of the letra (verse). But there is room for lots of personal expression in cante libre.

It’s important to note that cante libre doesn’t mean playing around with the compás, with the singer stretching and compressing the speed for effect. There literally is no compás! As a result, cante libre is a much more nuanced performance that can feel deeply soulful and intimate.

Which palos can be sung as cante libre?

The vast majority of styles sung as cante libre have evolved from the Fandangos family, including Fandangos personales, Malagueñas and Granaínas.

Also on this list are the ‘Cantes de las minas' including Tarantas, Mineras, Cartageneras, Levantica, and Murciana.

Because the cante here is more nuanced and sometimes even primal sounding, it may seem that cante libre is a very primitive version of flamenco. But in fact the opposite is true! These palos evolved from styles that were originally sung and played with rhythm, but lost their compás over time.

You might also see cante libre referring to palos from the Tonás family including Martinetes, Carcelera, Debla and Romances. These palos are thought to have originated without compás and are sung completely unaccompanied. It’s worth distinguishing here that while these palos are cante libre, they’re more commonly referred to as palo seco, meaning without any accompaniment, not even guitar.

How does a guitarist accompany cante libre?

The guitarist accompanying cante libre is focused completely on responding to the singer. Toque libre (guitar without compás) is much more melodic compared to the rhythmic guitar we know from other palos.

The work of the guitarist is to follow the harmony of the letra and coordinate the guitar in response to what the singer sings. Because there’s no external beat or rhythm to follow, there’s no need to keep ‘in time’, but the guitarist does need to keep in synchronisation with the singer.

How does this work?

Like any conversation, the guitarist listens to the singer and then plays an ‘answer’, known as a contestación. The singer will typically pause to breath between tercios (the melodic phrases that make up the letra) and it’s here during this respiro that the guitar responds. There’s no definitive way to do this but the guitar needs to complement the singer by respecting the harmonic structure of the letra. (In very basic terms for us non-musicians, ‘respecting the harmonic structure’ can simply be thought of as playing notes that sound right!)

This contestación isn’t something that just happens when accompanying cante libres. It’s a key component of all guitar accompaniment. For more information on accompanying cante I highly recommend this ‘Call & Response’ video from FlamencoMaps. Guitarists, don’t miss this one!

The difference with accompanying cante libre compared to the rhythmic palos is that in cante libre there is much more reliance on the contestación. Without any compás the guitar is all there is to frame the voice. And the word ‘framing’ really is apt here. Playing ‘over’ the singer is minimal and instead the guitar shines at the close of the phrase (as well as during any introduction and falsetas played between letras).

Like all good relationships, there’s work involved! Guitarists need to be deeply familiar with the palo and its different melodies, and able to adapt to the singer. And like all good relationships, when it works, it’s beautiful.

Can you dance to cante libre?

The short answer is: no.

But hang on… aren’t some of these palos danced? Well yes, there are many styles of Fandangos that are danced. And there is a version of Romances that is played and danced to the Bulerías por soleá rhythm.

Even Martinete, which is historically sung with no accompaniment, has become known as a palo danced to the rhythm of Seguiriya, thanks to an interpretation by the famous dancer Antonio Ruiz ‘El Bailarín’.

But cante libre itself lacks the rhythmic structure necessary for dance.

Cante libre listening guide: Where to start?

Once you start looking, you will find recordings of cante libre everywhere! But here are a few YouTube videos to get you started.

Jesús Méndez singing Malagueñas

A young Miguel Poveda singing Taranta

Rocío Luna singing Cartaganera

Argentina singing Tonás (note this is palo seco and therefore completely unaccompanied)

Want to find out more about cante flamenco?

Read why I believe that understanding the cante is the key to understanding flamenco.