flamenco . Solea

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Juan_Martin_s_Guitar_Method_Flamenco_RUS-Leccion_07-2a_SOLEARES.pdf

Development of a soleares falseta

Here are some variations on the same idea recorded in the 1930s, the 1950s and the 1970s.

Ramón Montoya

From his solo recordings (1936, "Soleares"). In this first example Ramón plays with loads of rubato phrasing; the notation is an approximation of a steady tempo. Notice his unusual cierre over beats 7-9. As we shall see, each guitarist adds his own ideas to this space in the falseta. Capo at third fret.

Montoya

Sabicas

La Guitarra Flamenca (1957-8, "Soleares"). The falseta is still in triplets but Sabicas gives it a complete rhythmic overhaul. Notice how he retains Ramón's first-string counterpoint at the end of beat 3 but slurs on the third string on beat 6. In the cierre, the fifth-string B is very unusual as it flats the fifth of the F chord (the second note of the triplet at beat 7). Capo at third fret.


Sabicas

Paco de Lucía

With Naranjito de Triana (1970, "Soleá del Fillo y Triana"). Paco steps up Sabicas' triplet arpeggiation to sixteenths. At beat 6 he slurs on the third string like Sabicas, and the remate (beats 10-12) is from Niño Ricardo. As in the other examples, the cierre is surprising. Capo at fifth fret.


Paco de Lucía

Enrique de Melchor

With Antonio Mairena (1976, "Para que Dios"). This falseta opens the track, pausing at beats 3 and 6 for an extra beat. At beat 9, the thirty-second notes are a flourish played as a very fast slur pausing on the third note (the A) and continuing very quickly with the fourth and fifth notes. Enrique's left hand is amazing! Capo at sixth fret.


Enrique de Melchor


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