Here are some variations on the same idea recorded in the
1930s, the 1950s and the 1970s. Click on the image to hear the audio
file.
Ramón Montoya, 1936, "Soleares."
This is the earliest version I have come across. Ramón
plays this with loads of rubato phrasing, and the notation is an approximation
of what it would be like over a steady tempo. Notice his unusual cierre over beats
7-9. Each of the guitarists adds his own ideas to this space in the falseta, as seen in the examples below. Capo at third fret.
Agustín Castellón
"Sabicas," 1957-8, La Guitarra Flamenca, "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 the third beat but adds the third-string
triplet slur at beat six. At the seventh beat, the B bass in the F chord
is very unusual (second note of the triplet). Capo at third fret.
Paco de Lucía, 1970
with Naranjito de Triana, "Soleá del Fillo y Triana."
Paco steps up Sabicas' triplet arpeggiation to sixteenth-notes. The echoes
of his mentors are present here, with Sabicas' third-string slur at beat
six and a remate
typically used by Manuel Serrapí "Niño Ricardo" (beats 10-12). Notice the unusual cierre
at beat nine. Capo at fifth fret.
Enrique de Melchor, 1976
with Mairena, "Para que Dios."
This falseta
opens the track, pausing at beats three and
six for nearly two counts each. Here the idea is written out in time. At
beat nine, the thirty-second notes could have been written as grace notes.
If you have trouble reading them, just play a very fast slur, pausing on
the third note (the A) before the quick fourth and fifth notes.
Enrique's left hand is amazing! Capo at sixth fret.
