Ezpata-dantza
  Jorrai-dantza
  Soka-dantza
  Zortzikoak
Brokel-dantza
Boastitzea
Agurra
Makila txikiena
Brokel-makilena
Makila handiena
Belauntxingoa
Uztai txikiena
Uztai handiena
Zinta-dantza
Doinu zaharrak
Ormatxulo
Txakolin
Punta motz
Ehun eta bikoa

This dance, known today as belauntxingo, was referred to by Iztueta as villancicoa. Apart from the dance of greeting, the belauntxingo is the only one performed with no changes of position by the dancers. Juan Ignacio Iztueta includes the belauntxingo in the series of dances that make up the brokel-dantza cycle, but he also includes it in the group of “ancient melodies”, where he offers the following explanation:
"This carol is danced in the public square as part of the brokel-dantza, and by night in enclosed spaces. I had the opportunity to see it one St. Michael’s day in the town hall of Urnieta, danced by a local boy called Martín José de Alcain, who performed 16 changes in as many carols, although he was no more than an uneducated farm-hand”.
When the belauntxingo is performed within the brokel-dantza cycle, the leader carries his baton of office and the remaining dancers dance empty-handed. When performed as an ancient melody, it is an individual dance. The data recorded by Iztueta concerning the structure of this dance coincide with its characteristics as performed today. Let us quote his words:
"The carol comprises 16 bars in two parts, with each part having eight bars. First the two parts are played slowly, then faster, with the two parts being danced four times in 32 bars”.

This same structure is used in the belauntxingo to this day. Its inclusion by Iztueta in the group of “ancient melodies” may indicate that, as occurs when other ancient melodies are danced, the belauntxingo performer was free to choose his own steps. This suspicion is reinforced by the fact that Martín José Alkain danced 16 changes in as many belauntxingos in Urnieta town hall.  However, the belauntxingo that forms part of the brokel-dantza is performed with a set sequence of steps, fleshed out with numerous jumps with and without turns of the type mentioned in the programme presenting the dancing staged in 1858 by Olano’s brokel-dantza group.