Basic Soleares Falsetas - Flamenco Guitar Transcriptions http://www.canteytoque.es/solsamp.

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Flamenco Guitar Transcriptions

Basic soleares falsetas por arriba
Here are some very basic examples of flamenco guitar falsetas (phrases) in the soleares style. In these samples,
you'll find some well-known falsetas heard from many different players throughout history. Some basic
techniques in flamenco guitar are represented here, like thumbed lines, rasgueados and arpeggios. These falsetas
are a good way to start to learn about flamenco, but in order to play them with the right phrasing, you'll need to
be familiar with the asymmetrical rhythm used in flamenco.

Falseta 1

This is heard in many old recordings from different guitarists. Keep your thumb curved and play rest strokes (the
thumb comes to rest on the next string after striking a note).

Falseta 2

This is another very old falseta heard in one form or another from almost all old-time players. The thick bar line
falls between beat 12 and beat 1. You can rearrange this falseta by changing the places of measures 1 and 3, but
the accented beats of the compás will fall on different notes. Hold the sixth-string F over beats 7-9.

Falseta 3

This is frequently used as a response to falseta 2. The triplets in the last measure add to the rhythmic drive.

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Falseta 4

This continues with the same idea and may be used a bit more freely since it doesn't need another full compás as
a "response," like falseta 2. The great Melchor de Marchena recorded this falseta.

Falseta 5

Another very old and frequently heard falseta. At beats 3 and 6, you can include the F on the fourth string at the
third fret.

Falseta 6

This strumming is called rasgueado. The fingering shown is typical, but there are many other sequences that
make this technique rich in ideas. You can include the appropriate notes on the fifth and sixth strings in the
chording. Instead of quintuplets, you can strum in sixteenths (a-m-i-i).

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Falseta 7

Sabicas frequently used arpeggios like these for his soleás. Measure 3 is a classic cierre (closing sequence) heard
from just about everybody. You can add an F on the fourth string (third fret) at beat 8 and play a G sharp on the
third string (first fret) in the slur that ends the falseta. Notice the right-hand fingering of the slur, which places
ring, middle and index on the second, third and fourth strings. The idea can also be fingered p-p-i-m-a-a-m-i, as
the slur on the first string allows for the ring finger to be used consecutively.

Falseta 8

For a more basic version of this falseta that makes a nice introduction to the idea seen below, play measures 3
and 4 back to back for a full 12 beats, accenting beats 3, 6, 8 and 10. Diego de Morón has recorded this falseta in
a prime example of "call and response," adding his variations to each unfolding measure.

Falseta 9

These kinds of arpeggios are an important part of the variety of techniques used in soleares. Observe the
phrasing at beats 3 and 6.

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Falseta 10

The sequence of double-triplet arpeggio, eighth-note bass and quintuplet slur is identical in the first two
measures, with a variation seen in the third measure. Repeating sequences like these are found in many falsetas.

Falseta 11

This is a nice way to finish a series of arpeggios. Notice how the striking-hand thumb and index share duties on
the third string through beats 6 to 8. Some arpeggio patterns even place the thumb on a higher-pitched string
than the index.

Falseta 12

Here the thumb outlines G7, C7 and F6 chords. This idea can also be played with arpeggios (see falseta 7) and
rasgueados.

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Remates 1-3

These one-measure figures are to be played at the end of the compás, over beats 10-12. They are called remates,
and they form an important part of guitar playing in the soleares style. In the past, guitarists used only a few
patterns for their remates, but today's players have developed this simple segment of the compás. The fingering
for remate 3 sets up the final downstroke with the thumb. To end with a thumbed upstroke, use the thumb for all
three notes of the triplet at beat 11. Make sure that your thumb is playing rest strokes in all of the examples.

Remates 4-6

Here are three more remates that are a bit more modern sounding. It's a very good idea to memorize a series of
moves for beats 7-9 and others for beats 10-12. Eventually, you can use this modular way of thinking to combine
different beginnings, middles and ends of falsetas. Notice how the six examples increase in rhythmic intensity.

Falseta 13

This is a combination of ideas from Ramón Montoya, Sabicas and others. You can change the triplet starting each
measure to an eighth and two sixteenths.

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Falseta 14

This falseta was inspired by old-time playing. Be sure to use rest strokes with your thumb. You can shorten the
first four notes to three by omitting an A note and starting on beat 1.

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