The stanza of the polo is the cuarteta romanceada, typical of most flamenco songs and Spanish folklore: four octosyllabic verses, the second and fourth rhyming in assonance.
Translation: Carmona has a fountain With fourteen or fifteen jets And an inscription that reads Long live the Sevillan polo!
Some lines are partially repeated, and there are also two series of melismas sung on one vowel in the middle and at the end of the stanza, which separate the song in two sections.
The guitar accompaniment and falsetas are also inspired by the soleá, although some special arpeggios are included after the second line of each section ("con catorce" and "y viva el polo") and during the singing of the melismas.
He might have been influenced by the recording of singer Jacinto Almadén, in which guitarist Perico el del Lunar certainly uses some chords insinuating the major mode.
Both the caña and the polo seem to have enjoyed great success and were considered the finest type of flamenco song at the beginning of the 19th century.
In 1960, at the time of reappraisal of traditional cante, the polo natural was recorded by Jacinto Almadén (also known as "El Niño de Almadén"), in the Antología del cante flamenco compiled by guitarist Perico el del Lunar and flamencologist Tomás Andrade de Silva.