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Abstract: This article offers an analysis limited to the aesthetic treatment of sonorous signs of flamenco and copla identifiable in the popular performing tradition. From interdisciplinary comparatism and by virtue of the intersection of codes between literature, music and performing arts, attention is paid to the following objectives: on theone hand, the study of the musicalization of some verses in homage to Ramón Montoya under the rubric of Juan Valderrama, accompanied by the guitar of Niño Ricardo; on the other hand, new critical perspectives are provided on the imitation of the singing voice in the harmonic-melodic phrasing of Sabicas, companion of Valderrama and Niño Ricardo in prominent scenarios, thanks to his literary-musical memory. Incluso, con la intención de profundizar en su pensamiento compositivo y recursos expresivos, cabe dilucidar cómo consiguió hacer cantar su guitarra atendiendo a un ejercicio de mímesis respecto a la voz humana. Sigo, en este sentido, la estela epistemológica de Bojarska (2021), Encabo y Matía (eds., 2023), así como Gallardo, Escobar y Ruiz (2023).