In previous studies, a pulse-level analysis has allowed a new classification of flamenco’s metered genres or palos into five metric groups, which can be further distilled into two core metric matrices of flamenco (Jiménez de Cisneros 2015). These matrices can be viewed as two sides of the same coin, as they incorporate the same hemiolic cell but viewed from distinct angles. On the one hand, the Fandango Abandolao, also known as toque por verdiales and the primitive accompaniment of malagueñas, stands as the oldest reference genre of the first matrix. On the other hand, the Tanguillo de Cádiz and its dance equivalent, the Zapateado, are the root and clearest expressions of the second matrix. This article begins by examining the analogies between the two metric matrices, illustrated with figures and audio examples. The second part of the article explores and illustrates the metric tension present in both matrices, alongside their connections to various past and present Latin American genres. This metric tension is approached through the analysis of hand clapping—the primary device for rhythmic synthesis and a frequent reference in phylogenetic studies of flamenco— particularly some clapping choirs or rhythmic combinations typical of the Fandango Abandolao and the modern genre of the Tanguillo de Cádiz.

Keywords: flamenco, metric matrices, metric tension, hand clapping, palmas, verdiales, Fandango Abandolao, Tanguillo Moderno.