Soleá

Also known as Soleares, this palo or form is considered a foundation of flamenco. One of the oldest, most somber and revered forms. Never to be taken lightly, always treat with respect. Its rhythm or compás consists of 12 beats with accents at 3, 6, 8, 10 and 12, but notated in four measures of 3/4 time.

Soleá Falseta 1: Diego del Gastor
This falseta is one I'm pretty sure I got from "Flamenco Chuck" Keyser's website. It's one of my favorites to play, because it has so much "aire" and a tricky compás in parts. The shifting techniques add to the overall impact. Capo II.

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Soleá Falseta 2: Ramón Amador
This is another favorite of mine from the amazing Ramón Amador. He is such a strong player, I don't really do him justice, but I like playing this falseta anyway. And my breathing wasn't too loud this time LOL (stupid cold). Capo V.

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Soleá Falseta 3: Flamenco Chuck
I got this falseta from "Flamenco Chuck" Keyser's site a number of years back. It has a lot of legato (or ligado) technique (hammer-ons and pull-offs) and is a bit tricky for that reason. Unfortunately my fingers weren't really cooperating too well so I might re-record this one, but the playing is still good enough to get the idea across, so here it is for now. Capo II.

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Soleá Falseta 4: Traditional
I got this falseta from a TablEdit file years ago. It was listed as traditional. The last compás is a nice alzapúa passage that I modified slightly to improve the melodic continuity. Capo II.

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Soleá Falseta 5: Mario Escudero
This falseta (with lots of hammer-ons) is attributed to maestro Escudero, though my only source at the time was a grainy photocopy that contained only 2 compáses. I added the 3rd compás with a little variation to make the falseta last a bit longer. It is played first slow, then fast. Capo II.

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Soleá Falseta 6: Paco Peña
This is my favorite falseta from Paco Peña's "Soleá de Córdoba" from the mid-70s. It's a bit of a stretch for the left hand, so I placed the capo at fret III (where I believe Paco placed it as well). The last compás takes a bit of getting used to, but the syncopation becomes very infectious after you master it.

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Soleá Falseta 7: Paco de Lucía
This is a very strong falseta with lots of aire, but rather tricky. I have fond memories of this one, because I first learned it when in Seville studying with the great Juan del Gastor (nephew of Diego!). After learning Juan's version of this falseta, I had purchased Paco's first solo CD La Fabulosa Guitarra de Paco de Lucía and was pleasantly surprised to hear Paco play the same falseta, except with his "updates". I quickly picked it up for use in performance. It's been many years since I played it, but I'm glad I remembered it to include in my video collection. Capo I.

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Soleá Falseta 8: Arpeggios
This arpeggio-based falseta is based on (I believe) one of Paco Peña's, but with my own variations. Watch out for the changing tuplets! There are quintuplets, sextuplets and septuplets. Not for the rhythmically challenged. Capo V.

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