A lot of Spanish music is flamenco-adjacent. In other words, it can be flamenquified easily. Take "Anda jaleo." (Please take it.) There are constant flamenco versions of it, though it is a popular song, not part of the flamenco repertoire (originally).
It is interesting that I am unable to find any trace of "Anda jaleo" before Lorca. In some sense, it is Lorca's song, though I'm sure he did not write it.
"I miss our correspondences. They were always a highlight back in the day. Your intelligence and generosity always lifted me."
If we have a 11 syllable line that dives up into 5 and 6.
Then a seven syllable line.
The we have a nice asymmetrical pattern of 5, 6, 7. Góngora does this a lot:
"Desnudo el joven, cuanto ya el vestido
océano ha bebido..."
El mismo mar de todos los veranos
El amor es un juego solitario
Varada tras el último naufragio
The titles of these three novels are in the 11-syllable line. The backbone of the meter is the strong accent on syllable six.
El mismo mar de TOdos los veranos
El amor es un JUEgo solitario
Varada tras el ÚLtimo naufragio
That's what makes the line a meter, not must a random number of syllables. You could say the line is more constrained at the cadence
de todos los veranos
un juego solitario
el último naufragio
These are 7 syllable lines. So the first four syllables are free. The iambic pattern is fine:
El mismo mar
But the first or third syllable can be accented: "El amor"
The English pentamer feels different, because syllables are more weighted, and average word length shorter. You are going to find a lot of 8-9 word lines, and some lines of 10 words:
A little touch of Harry in the night
To be or not to be, that is the question
The country cocks do crow, the clocks do toll
Never again would the bird's song be the same
I have been one acquainted with the night
I was thinking there are two way of approaching it. There are individual lines that are just self-contained and great examples, but the real achievement is the paragraph of several lines in a row, where each line is still a great example on its own, but the effect is of the sequence of metrical phrases, some crossing the line. My daughter was explaining to me that the secret of good trumpet playing is to have a continuous flow of air between the notes. The beginning student will play each note by its self, and have difficulty with legato.
There is almost a Charlie Parker quality to passages of great rhythmic stretchiness:
Now entertain conjecture of a time
When creeping murmur and the pouring dark
Fills the wide vessel of the universe.
From camp to camp through the foul womb of night.
The hum of either army stilly sounds...
No two lines are alike.
There was a novel very well known at the time, El mismo mar de todos los veranos. It doesn't seem to have last--no new editions or critical studies. Esther Tusquets, the author, was very well known and this was the first of a trilogy. The title is memorable because it is a perfect eleven syllable line of poetry (if it were a line of poetry.) Another novel in the series is "El amor es un juego solitario" which follows the same metrical pattern.