This phrygian key sevillana, adapted from a Sabicas recording, offers a great example of how the sevillana form can adapt to the moodier, more exotic tonality of much traditional flamenco.
The way it is played here, this sevillana also provides a good practice opportunity for developing single-note alzapua (thumb rest strokes) on the upper strings. While these melodies could be played with the fingers (i.e. with picado), the thumb provides a stronger and more driving tone. Since there are no root notes on the bass strings, this stronger playing helps to keep these sections from dropping in volume or feeling thin.
You’ll also notice that the third tercio of this sevillana ends in a variation on the main melody—in this case a picado run. These kinds of variations are common to sevillanas of the “Sabicas” era.
For a detailed analysis of the sevillana form, be sure to check out the Sevillana Accompaniment article here on Ravenna Flamenco.