Flamenco Fridays with Sabicas
Soleá is one of the flamenco palos with the highest number of traditional songs, and it is particularly appreciated by knowledgeable artists and audiences. It is very demanding for singers, as they have to strive to be creative and, at the same time, respectful of the tradition, and they have to succeed in finding a good balance between melodic and rhythmic sides, both extremely difficult. It demands great vocal faculties, and the singer should achieve a balance between passion and restraint.
The melody of a soleá stanza usually stays within a limited range (usually not more than a 5th). Its difficulty lies in the use of melisma and microtones, which demand great agility and precision in the voice. It is usual to start a series of soleares with a more restrained stanza in the low register, while continuing to more and more demanding ornaments in a higher register. The series is quite often finished with a stanza in a much more vivid tempo in the relative Major mode.
The metre or “compás” of the soleá is one of the most widely used in Flamenco. Other palos have derived their compás from the soleá, including Bulerías por soleá, the palos in the Cantiñasgroup, like Alegrías, Romeras, Mirabrás, Caracoles or, to a certain extent, Bulerías. It consists of 12 beats, and could be described as a combination of triple and duple beat bars, so it’s a polymetre form, with strong beats at the end of each bar. The basic “skeleton” of the soleá rhythm, thus, follows this pattern:
