Soleá
Position: por arriba
Capo / Transposer
Guitar position: por arriba | Sounding key: E
Compas — 3/4, 12 beats
Interactive Progression
Resolutive cadence: F → E (II → I)
Harmonic Structures
| Name | Chords | Degrees |
|---|---|---|
| Principal: IV-III-II-I | Am – G – F – E | IV – III – II – I |
| Secundarios: VII-VI-V-I | Dm – C/G – Bm7b5 – E | VII – VI – V – I |
| Sustitucion: IV-VI-V-I | Am – C/G – Bm7b5 – E | IV – VI – V – I |
| Sustitucion: VII-III-V-I | Dm – G – Bm7b5 – E | VII – III – V – I |
Scale
III altered to G# (leading tone of Am/IV), VII optionally altered to D# (leading tone of E/I). Augmented 2nd intervals possible between II/III and VI/VII.
Related Scales
The fundamental flamenco scale. Also called Dorico Griego (Greek Dorian, descending) or Phrygian (Gregorian). The 3rd is raised to G# when chord I needs to be Major.
Phrygian with raised 3rd. The most characteristic sound when playing over the I chord in flamenco. Fifth mode of Harmonic Minor.
Six-note scale of whole tones. Used by Albeniz and adopted in flamenco for impressionistic passages and augmented chord contexts.
Flamenco Mode Degrees (E)
| Degree | Chord | Quality | Function |
|---|---|---|---|
| I | E | Major* * 3rd raised artificially | Secondary Tonic |
| II | F | Major | Resolutive |
| III | G | Major | Middle |
| IV | Am | minor | Great Tonic |
| V | Bdim | diminished | Diminished |
| VI | C | Major | Intermediate |
| VII | Dm | minor | Semi-resolutive |
Andalusian Cadence: Variants
The four principal chords progressing toward the Secondary Tonic (I). The II chord must resolve to I for a conclusive ending (semitone descent).
| Variant | Degrees |
|---|---|
| Principal (acordes principales) | IV – III – II – I |
| Acordes secundarios | VII – VI – V – I |
| Sustitucion 2 acordes (a) | IV – VI – V – I |
| Sustitucion 2 acordes (b) | VII – III – V – I |
| Secundarios invertidos (a) | VII – VI – V – I |
| Secundarios invertidos (b) | V – VI – VII – I |
| Mixto principales/secundarios (a) | II – III – VII – I |
| Mixto principales/secundarios (b) | II – VI – V – I |
Voice Leading (DROP-2)
The cadencia andaluza voiced as seventh chords in DROP-2 position, connected by voice leading (maximum common tones, minimum voice movement). 4 inversion starting points × 3 string groups = 12 patterns. Each pattern cycles through inversions: Root → 1st inv. → 2nd inv. → 3rd inv.
Cadence: D-7 → C7 → Bb7 → A7(b9) | 3 string groups × 4 inversions = 12 patterns
Solea Exercises
The Solea cadencia A-7 → G7 → Fmaj7 → E7 practiced in CAGED forms with DROP-2 and DROP-3 voicings. Harmonic changes on pulses 1, 4, 7, 10 of the 12-beat cycle. 6 variations per exercise escalating complexity: (1) rasgueo, (2) arpeggio pattern, (3) arpeggios + secondary dominants, (4) fifths-sixths melodic play, (5) thirds-fourths melodic play, (6) fundamentals-seconds melodic play.
5 exercises, 8 techniques
Flamenco Formal Structure
The cantaor's vocal preparation before singing, using ayeos and characteristic syllables. Sets the pitch and emotional tone of the piece.
A small guitar composition with complete musical meaning. Serves as introduction, interlude between verses, or standalone concert piece. The primary vehicle for guitar improvisation in flamenco.
A signal to transition between sections. Contains identifying rhythmic and harmonic elements that communicate the upcoming change to other performers.
The vocal verse sections, metrically fitted to the palo's rhythmic structure. The guitar accompanies with compas patterns and harmonic support.
A short musical fragment to conclude llamadas, falsetas, or sections. Provides rhythmic and harmonic closure.
At least one additional compas after a llamada or falseta, giving a lively, emphatic character to the conclusion.
The dance section featuring zapateado (footwork). Often features progressive acceleration. The guitar provides rhythmic compas support.