Soleares Audio Library

This classification of soleares styles is based on the work of Luis Soler Guevara and Ramón Soler Díaz, as seen in their book, "Antonio Mairena en el Mundo de la Siguiriya y la Soleá," published by the Fundación Antonio Mairena and the Junta de Andalucía. The authors analyzed 1,269 soleás (examples of sung verse) recorded by 130 singers born up to 1920 in mediums ranging from late 19th-century cylinders to CDs released shortly before the publication of the book in 1992. The authors also studied approximately 250 undocumented non-commercial recordings. This website includes 212 audio samples of these and other recordings.

The files included here are provided for study purposes. The audio quality has been reduced to a minimum acceptable level for .mp3 format, but if you try to convert the files to CD format, the quality will deteriorate considerably.

Guitarists wishing to accompany soleá singing need to be familiar with different styles in order to anticipate structural and melodic changes. The different styles are characterized by certain notes in the melody and, to a lesser degree, the structure of the sung verse.

Terminology

"Cante" means flamenco singing in a broad sense, and in this study, it refers to a specific style of soleá. "Verse" refers to an arrangement of a certain number of lines with a fixed length, meter or rhyme scheme. "Cambio" refers to the last sung lines that conclude the style. The term "por arriba" means that the guitar accompaniment is based on the chords E major and F major, and "por medio" refers to that based on A major and B-flat major.

Structure of Verse and Cantes

Soleás are lyric poems sung with verse of three or four eight-syllable lines. Some styles offer more freedom for structural changes, but there is usually a pattern that most singers follow insofar as isolating, repeating and linking lines of verse. The structure of a style normally determines whether three- or four-line verse can be used, but sometimes both are possible. Some of the most widely known styles are sung at the beginning of a series of soleás. They use four-line verse and appear here as "style 1", although this denomination is sometimes used for what is thought to be the oldest cante attributed to an artist. The so-called transitional styles are normally sung with three-line verse and less repetition of the lines of verse. As their name indicates, they often lead to more dramatic forms that conclude the series of soleás and also normally use three-line verse.

Scale Degrees

Flamenco guitarists use capos to adjust the key of the music to the singer's preference. This makes it difficult to compare different recordings of a single style because the recordings are likely to be in different keys. For purposes of analysis, we can use the Phrygian mode to represent the sung melody of soleá styles in order to generically refer to each note of the melody as a degree, regardless of the corresponding key. The diagram below represents standard notation and guitar tablature for A and E Phrygian scales. The first note (also called tonic) would be the first degree, the second note would be the second degree, etc. The eighth note would be the first degree once again, because it is essentially the same as the first note, but in a higher register (this is why they are called octaves). Using this same system, Roman numerals are used in reference to chords. For example, in A Phrygian, IV minor would be D minor (D is the fourth degree).

Attributions

The styles are attributed to the artists with whom they are most closely associated, but this does not necessarily mean that they created these styles. In many cases, they either sang styles that were popular within their family or social group, or sang a personal version of another attributed song form. Therefore, this classification is not designed to determine the authorship of styles. Its greatest value is the compilation of different versions of styles and the establishment of a series of names for their identification.

Soleares of Alcalá and Marchena

All the styles included here are thought to be from Alcalá de Guadaíra, except for the two styles attributed to La Jilica, which are from the neighboring town of Marchena.

Agustín Talega 1

Agustín Fernández Franco was the brother of Joaquín el de La Paula and the father of Juan Talega. It is thought that he may have been born in Alcalá de Guadaíra in the 1860s. The descending melody in the first line of verse is characteristic of this style, and the conclusion of the cante is similar to that of La Jilica 1.

Juan Talega (1959). With Paco Aguilera. Capo at third fret por arriba (key of G).
Se meneaban cuando yo paso
se menean cuando paso
yo te quiero a ti solita ay
y a nadie hacía yo caso

Juan Talega (1966). With Melchor. Capo at third fret por arriba (key of G).
Yo voy a perder la razón
que cuando hablo contigo
y a mí me engaña mi corazón

Agustín Talega 2

This style seems to contain a simplified version of the melody of Joaquín el de La Paula 3, without the repetition and fragmentation of the first line of verse. Notice the high note heard in the linking flourish at the end of the first line of verse. This clearly distinguishes it from Joaquín el de La Paula 2 and La Roezna 2. In the versions below, Talega starts on beats 7-8, but on other recordings he starts on 1-2-3.

Juan Talega (196?). With Diego del Gastor. Capo at fourth fret por arriba (key of G sharp). Notice how he breaks his voice in the second sung line (que).
Pidiendo a Jesús mío
por lo que pasó en el huerto
te borraran de mi sentido

Juan Talega (1966). With Melchor. Capo at third fret por arriba (key of G).
No puedes hacer nada bueno
porque tienes en tus venas
y en vez de sangre veneno

La Jilica 1 (de Marchena)

María del Carmen Reyes Torres was the aunt of Melchor de Marchena. She was born in 1866 in Marchena and died in Écija around 1950. Notice the similarity between this style and Agustín Talega 1. The main difference between the two lies in the first line of verse: This style uses an ascending melodic line and Agustín Talega 1 uses a descending melody. Luis and Ramón Soler suggest that this style may be a recreation of La Andonda 2, and point out the similar approach between the two in the melodic rise in the first line and the pauses between lines of verse, although the melodies are not the same. Antonio Mairena and Joselero add characteristics of styles from Alcalá and Triana, respectively. All the versions but Pastora's fragment the first lines of verse.

Pastora (1948). With Melchor. Capo at fifth fret por medio (key of D).
(Cuan)do paso por tu puerta
cuando paso por tu puerta
cojo un puñado de papeles ay
que todos se me volvieron mosquetas
cogí un puñado de papeles ay
que todos se me volvieron mosquetas

Chaqueta (1950). With Paco Aguilera. Capo at third fret por arriba (key of G). Here, this style is set to bulerías rhythm. Notice the abrupt pause in the fourth sung line (after "que cuando"). This is heard in two of Antonio Mairena's versions, seen below.
(A) mí me daba me daba y a mí
me daba me daba tenta-
-aciones de locura
que cuando de ti me acordaba

Chaqueta (1950). With Paco Aguilera. Capo at third fret por arriba (key of G). Taken from the same recording, this is also set to bulerías. Notice the pause in the fourth sung line (after "de hier-").
(Le)vántate tempranito levan-
-tate tempranito y ve-
-erás como te traigo
que de hierbabuena un ramito

Antonio Mairena (1965). With Melchor. Capo at sixth fret por arriba (key of B flat).
Levanta y no duermas más leva-
-anta y no duermas más que vie-
-enen los pajaritos
cantando la madrugada
que vienen los pajaritos
y cantando la madrugada

Antonio Mairena (1966). With Melchor. Capo at sixth fret por arriba (key of B flat). The ending is reminiscent of Alcalá styles.
Pasas de largo y no miras pasa-
-as de largo y no miras como-
-o sabes que yo te quiero
tú me hacías pasar fatigas

Antonio Mairena (1969). With Melchor. Capo at sixth fret por arriba (key of B flat). Carmen Linares sings this cante with some of the features heard here. Notice the pause in the fourth and sixth sung line (after "que se").
(Cuan)do pasas y no me miras cuando
pasas y no me miras y el co-
-orazón por la boca
que se me sale de fatiga
corazón por la boca
que se me sale de fatiga

Antonio Mairena (1969). With Melchor. Capo at sixth fret por arriba (key of B flat). Notice the pause in the fourth and sixth sung line (after "y el mal").
(Mal) fin tenga esta gitana mal fin
tenga esta gitana sabie-
-endo que la camelo
y el mal paguito que a mí me daba
(sa)biendo que la camelo
y el mal paguito que a mí me daba

Joselero (1976). With Diego de Morón. Capo at first fret por arriba (key of F). The ending is reminiscent of Triana styles.
Merecía esta serrana mere-
-ecía esta serrana que la-
-a fundieron de nuevo
que como funden las campanas

Joselero (1978). With Diego de Morón. Capo at third fret por arriba (key of G). The ending is reminiscent of Triana styles.
(¿Que yo) contigo no igualo que yo-
-o contigo no igualo? eso-
-o será en los dineros
que a vergüenza yo te gano

La Jilica 2 (de Marchena)

The two recordings of this style begin with different approaches. Pastora's version is closer to Joaquín el de La Paula 3 and Mairena's is closer to La Roezna 2.

Pastora (1948). With Melchor. Capo at fifth fret por medio (key of D). Includes the "juguetillo" ending, seen below.
Llévame a una huerta
por Dios llévame a una huerta
y dame unos paseítos
que cayéndome estaba muerta
y dame unos paseítos
que me estaba cayendo muerta

Vente conmigo
dile a tu madre
que soy tu primo

Antonio Mairena (1969). With Melchor. Capo at sixth fret por arriba (key of B flat).
Primita llévame al huerto
y dame unos paseítos
que cayéndome estaba muerto
y dame unos paseítos
que cayéndome estaba muerto

Joaquín el de La Paula 1

Joaquín Fernández Franco was born in Alacalá de Guadaíra in 1875 and died in 1933. He was the brother of Agustín Talega and the uncle of Juan Talega and Manolito de María. This classic four-line opening style has long been one of the most popular soleás, but none of the styles attributed to Joaquín were recorded before the mid-1920s. It is interesting to compare the melody and structure of this style with those of La Serneta 1 and Enrique El Mellizo 1.

Manuel Torre (1929). With Borrull. Capo at third fret por medio (key of C). Manuel's personal version seems to have inspired Tomás Pavón and many other artists. Notice that Manuel isolates and and repeats the first line of verse and does not repeat the second line of verse.
Por ti abandoné a mis niños
por ti abandoné a mis niños
y mi madrecita de penita murió
ahora te vas y me abandonas
no tienes perdón de Dios

Tomás Pavón (1950). With Melchor. Capo at second fret por medio (key of B). This cante is considered by some to be a separate style within the Alcalá group. It seems to be based on Manuel Torre's version of the style Joaquín el de La Paula 1. Nonetheless, Tomás' version includes some important contributions to the style of Joaquín and the version of Manuel. Like Torre, Tomás isolates and repeats the first sung line, but we can appreciate Tomás' outstanding musicianship in the stretching of certain syllables, the way in which he links lines of verse, and the absence of long pauses.
Válgame Dios no le temes
válgame Dios y no le temes
ni a la ira de Undebel
ni a la ira de Undebel
ni a la ira de Undebel
y sin embargo te asustas
gitana de mi querer

Juan Talega (1962). With Eduardo el de La Malena. Capo at third fret por arriba (key of G). This version seems to reflect a more orthodox approach to this style. Notice the linking of the first and second line of verse and the repetition of the second line of verse.
¿A quién le contaré yo
la fatiguillita que estoy pasando
fatiga que estoy pasando
la fatiguillita que estoy pasando?
se la voy a contar a la tierra
cuando me estén enterrando
se lo voy a contar a la tierra
cuando me estén enterrando

Joaquín el de La Paula 2

This style is normally sung immediately after Joaquín el de La Paula 1, used as a transition toward more dramatic styles. However, several different ways of singing this cante have been developed over time, and it can even be used to conclude a series of soleás. This style is very similar to La Roezna 2, but the second line of verse includes the fifth or even sixth degree, while La Roezna 2 goes no higher than the fourth degree. It is also very similar to Manuel Cagancho 2, Antonio Mairena 2 and Pepe el de La Matrona 2. It is worth noting that Juan Talega's versions of this style are different from those of other artists in that he descends to the fourth degree at the end of the first line and other singers drop to the third degree, as heard in these samples and other early recordings of this style (Marchena, Pastora and Cepero). Another peculiarity of the versions of Juan Talega can be heard at the end of the second line (see below). It is difficult to determine whether this variation is the result of the first recordings of this style being made in the 1920s by professional singers far removed from the Talega family (more highly developed melody), or whether Juan Talega had developed this style in his own way when he finally recorded it in 1959 (his versions echo the drive and soufulness of Agustín Talega 2). Manolito de María very often sang the first line of this style in a different way, adding a pause before falling to the fourth degree. The first line of Antonio Mairena's versiones of La Roezna 2 is identical to that of Juan Talega's versions of this style.

Tomás Pavón (1928). With Niño Ricardo. Capo at sixth fret por arriba (key of B flat).
Me voy por la otra acera
porque le temo a tu madre
que tiene muy mala lengua
y que yo a tu madre le temo
que tiene muy mala lengua

Tomás Pavón (1928). With Niño Ricardo. Capo at sixth fret por arriba (key of B flat). Tomás' personal vision of this style.
(Tú) te tienes que quedar
con el dedito señalando
como se quedó san Juan
y con el dedo señalando
como se quedó san Juan

Manuel Torre (1929). With Borrull. Capo at third fret por medio (key of C). An incredible recreation of this cante by Torre. Notice the difference between the third and fourth sung lines.
Veo que te vas a quedar
con el dedo señalando
como se quedó san Juan
señalando con el dedo
como se quedó san Juan

Tomás Pavón (1950). With Melchor. Capo at second fret por medio (key of B). Another monumental recreation of this style. In a rather unusual move, Tomás starts the first line on beat four. Like Juan Talega, he ends the first line of verse on the fourth degree. He lengthens the second verse, zeroing in on a note heard at the end of the second line, and Melchor follows him perfectly, waiting until the last possible moment for the change to the VI chord (F without capo por medio). Compare this to Tomás' versions from 1928 to see the great versatility of this style.
(No) encuentro otro remedio
que agachar la cabecita
creer que lo blanco es negro

Juan Talega (1959). With Paco Aguilera. Capo at third fret por arriba (key of G). Notice that, in the following versions of this style, Juan ends the second line with the sharped second degree (F sharp without capo por arriba), heard at the end of the words "loco," intención," and "tienes." This creates a wonderful contrast with the natural second degree heard in the third line.
(Qui)se mucho a una mujer
tuve un momento de loco
y esa mi ruina fue

Juan Talega (1959). With Paco Aguilera. Capo at third fret por arriba (key of G). The melody in the first line starts at the tonic. The other artists start at the fifth degree below the tonic, as does Juan in the preceding cante, taken from the same recording as this version.
(Dices) que no me querías
pero hice la intención
de no mirarte en mi vida

Juan Talega (1962). With Eduardo el de La Malena. Capo at third fret por arriba (key of G).
(Dices) que no me querías
cuando adelante tú me tienes
el sentido te varía

Joaquín el de La Paula 3

This style nearly always uses three-line verse and concludes the series of soleás. The first line is fragmented into several sung lines, each starting with the last vowel of the end of the preceding line. The tension climaxes at the start of the second line of verse, and the rest of the cante is sung straight through. Singers sometimes add characteristics of other styles to the conclusion. There are similarities between this style and Enrique El Mellizo 2, but one of the clearest differences is in the melody: Both styles make use of the seventh degree in the first half of the verse, but the first sung line of Joaquín el de La Paula 3 only reaches the sixth scale degree before going on to the seventh degree in the following sung lines (reaching a melodic climax before going on to the second and third lines of verse), while Enrique El Mellizo 2 goes straight to the seventh scale degree from the first sung line.

El Gloria (1929). With Niño Ricardo. Capo at fourth fret por medio (key of C sharp). This excellent version includes echoes of Cádiz styles.

Manolito de María (1962). With Fernández El Negro. Capo at sixth fret por arriba (key of G).

(estrofa escrita)	(estrofa cantada)
Por dinero no lo hagas llévame a las herrerías y échame un hierro en la cara	(Por) dinero no lo- -o hagas por di- -inero no lo- -o hagas lléva- -ame a las herrerías y échame un hierro en la cara

Manolito de María (1962). With Fernando de Alcalá. Capo at third fret por arriba (key of G).

(estrofa escrita)	(estrofa cantada)
Desde que murió mi madre la camisa de mi cuerpo no tengo quien me la lave	(Des)de que murió mi- -i madre desde- -e que murió mi- -i madre la ca- -amisa de mi cuerpo no tengo quien me la lave

Perrate (1962). With Eduardo el de La Malena. Capo at third fret por arriba (key of G). Although the first sung line is a bit longer than usual, this version is unusually short, with the melodic climax occurring at the end of the second sung line.

(estrofa escrita)	(estrofa cantada)
A rezarle al Cristo un credo por decir, "Creo en Dios padre" dije, "Gitana te quiero"	A rezarle al Cristo un credo y a re- -ezar al Cristo un credo por decir, "Creo en Dios padre", dije, "Gitana te quiero" y por decir, "Creo en Dios padre", dije, "Gitana te quiero"

Antonio Mairena (1974). With Paco de Lucía. Capo at sixth fret por arriba (key of B flat).

(estrofa escrita)	(estrofa cantada)
¿Qué motivos te he dado yo para que me tires la ropa como un pícaro ladrón?	(¿Qué) motivos te he dado- -o yo qué mo- -otivos te he dado yo para que me tires la ropa como un pícaro ladrón? para que la ropa tú me la tires como un pícaro ladrón

Joaquín el de La Paula 4

The only artists born up to 1920 to record this style were Antonio Mairena and Joselero. This soleá seems to be based on La Serneta 5. Antonio Mairena can be credited with the recovery of this style. It is surprising that neither Juan Talega nor Manolito de María, nephews of Joaquín el de La Paula, recorded this cante. This could lead us to think that Mairena's recovery of this style is actually more of a recreation, although this can not be confirmed.

Antonio Mairena (1959?). With Melchor. Capo at seventh fret por arriba (key of B).
Quise cambiarle y no quiso
quise cambiarle y no quiso
el pañuelo de lunares
por otro de fondo liso
el pañuelo de lunares
por otro de fondo liso

Joselero (1975). With Diego de Morón. Capo at third fret por arriba (key of G). Joselero concludes the cante in a higher register than Mairena.
Las fatigas de la muerte
mira qué fatigas son
las de mi compañerita
no tuvo comparación

Antonio Mairena (1976). With Melchor. Capo at sixth fret por arriba (key of B flat).
(Es)tán sentados en la plazuela
(es)tán sentados en la plazuela
La Roezna y Tío Frasco
y Paco el de La Malena
La Roezna y Tío Frasco
y Paco el de La Malena

La Roezna 1

Dolores Tinoco Fernández is believed to have been born in Alcalá de Guadaíra in the 1870s or 1880s, and is remembered as having sung the styles attributed to La Jilica. Antonio Mairena recorded two styles in four cantes that he attributed to La Roezna. Style 1 seems to be based on La Andonda 1, but starts with a melodic line oscillating between the fourth and seventh scale degrees, sharply accenting the fourth and last syllables of the first sung line. Like La Andonda 1, this melody is repeated for the third and fourth sung lines, but La Roezna 1 starts at the fourth degree, rises to the seventh, falls back to the fourth, and climbs again to the seventh before falling to the tonic at the end of the second and fourth sung lines, and La Andonda 1 starts directly at the seventh scale degree. The rest of the cante is clearly based on Alcalá styles.

La Roezna 2

Antonio Mairena was the only artist to record this style, which seems to be based on Juan Talega's versions of Joaquín el de La Paula 2. However, from the second line onward, the melody falls from the fourth degree to the tonic.

Antonio Mairena (1965). With Melchor. Capo at sixth fret por arriba (key of B flat).
Te se caigan las carnes
desprendidas de tu cuerpo
si es que vienes a buscarme
ay desprendidas de tu cuerpo
si es que vienes a buscarme

Antonio Mairena (1966). With Melchor. Capo at sixth fret por arriba (key of B flat).
Quisiera verte y no hablarte
quisiera verte y no hablarte
quisiera cogerte sola
y satisfacciones darte
quisiera cogerte sola
y satisfacciones darte

Juan Talega

Juan Fernández Vargas was born in Dos Hermanas in 1891 and died in 1971. He was the son of Agustín Talega, the nephew of Joaquín el de La Paula, and the cousin of Manolito de María. This style is nearly identical to that attributed to Noriega, which is sung a bit more slowly and without linking the first lines of verse. The melody in the first sung line is shared with the styles of Manuel Cagancho 1, Joselero and, to a lesser extent, Juaniquí 3.

Perla de Triana (1959). With Manuel Morao. Capo at third fret por medio (key of C).
El árbol que está en un cerro
que adonde el agüita no le llega
que el agua no le llega
que adonde el agüita no le llega
si no riegan a mano
ay que está propenso y se pierda
si no riegan a mano
que está propenso y se pierda

Antonio Mairena 1

Antonio Cruz García was born in Mairena del Alcor in 1909 and died in 1983. Style 2 attributed to this artist is based on Triana styles, and styles 3 and 4 on Jerez. This recreation of Joaquín el de La Paula 1 features a shortened first line, as heard in the versions of Manuel Torre, and reaches the fifth and sixth degrees in the second line.

Antonio Mairena (1966). With Melchor. Capo at sixth fret por arriba (key of B flat).
Lo que tú haces conmigo
no tiene punto en comparación
punto de comparación
no tiene punto en comparación
te tienen que ver mis ojos
metida en la Inquisición
merecía esta gitana
meterla en la Inquisición

Joselero

Luis Torres Cádiz was born in La Puebla de Cazalla in 1910 and died in 1985, and was the brother-in-law of Diego del Gastor. The melody in the first line is shared with the styles of Manuel Cagancho 1, Noriega, Juan Talega and, to a lesser extent, Juaniquí 3. The rest of the cante echoes Triana styles, with a peculiar melodic rise in the third sung line, somewhat similar to the styles attributed to Juaniquí. On the three occasions that Luis Torres recorded this style, he sang it along with the soleá of Francisco Amaya. This can also be also observed in different recordings of this singer from informal gatherings and festivals. In the samples seen below, the comments of Diego del Gastor seem to indicate that both styles were sung by his father.

Joselero (1962). With Diego del Gastor. Capo at third fret por arriba (key of G). Notice that Diego comments "¡Sigue, sigue! El cante de mi padre; sigue."
(De)trás de la cruz de la iglesia
vestidita de un negrito luto
y altas fatiguitas tiene
y el que no logra su gusto

Joselero (1962). With Diego del Gastor. Capo at third fret por arriba (key of G). Notice Diego's comment "de mi padre." At the end of the track, we can hear Diego add, "Dale el aire de mi padre." Joselero goes on to sing the style Francisco Amaya.
La retama y la consuelda
la retama y la consuelda
que yo en un vasito las metí
todos me saben a azúcar
cuando me acuerdo de ti
compañera de mi alma
cuando me acuerdo de ti

Joselero (1975). With Diego de Morón. Capo at third fret por arriba (key of G). This version includes another melodic rise at the beginning of the second sung line. As in the preceding sample, he sings "consurta."
La retama y la consuelda
y en un vaso yo las metí
todos me saben a gloria ay
que cuando me acuerdo de ti

Soleares of Cádiz

These styles are normally very rhythmical and feature a characteristic cadence in the final sung lines.

Paquirri 1

Very little is known about this singer, although it is thought that he was born towards the beginning of the 19th century. The structure of this style is similar in some ways to that of Ribalta.

Aurelio (1959). With Manuel Morao. Capo at sixth fret por arriba (key of B flat). In his biography of Aurelio, the researcher José Blas Vega identifies the following recordings as two of the cantes that Aurelio offered when he asked the singer about the soleás of Paquirri.
Esquinas me pones que
ya sé que no me quieres
que ya sé que no me quieres
pones por las esquinas que
ya sé que no me quieres
que ya sé que no me quieres
andas loquita perdida
malas puñaladas te peguen
y loquita perdida tú andabas
malas puñaladas te peguen

Aurelio (1962). With Andrés Heredia. Capo at seventh fret por arriba (key of B).
(A) rebato toquen
que las campanas del olvido
que las campanas del olvido
que toquen a rebato
que las campanas del olvido
que las campanas del olvido
(que ven)gan y tocan a fuego
que esta gitana ha encendido
(que ven)gan a fuego y le toquen
que esta gitana ha encendido

Antonio Mairena (1969). With Melchor. Capo at seventh fret por arriba (key of B).
A la orillita de un río
que me pongo a considerar
que me pongo a considerar
mis penas son como el agua
que no acaban de pasar
y a la orillita de un río
me pongo a considerar

Paquirri 2

The melody of the first line falls from the first or second degree to the fifth and is repeated. The second line climbs back to this high note and the third line falls back to the tonic. The second and third lines are repeated with the same melody. The repeated use of the melodic descent from tonic to tonic is also heard in Paquirri 3, El Portugués 1 and El Quino. This style is also similar to Paquirri 4 in its breakneck delivery and arrangement of lines of verse, but the melodic descent in Paquirri 4 starts at the fifth degree.

Revuelta (1907). With Román García. Capo at fifth fret por arriba (key of A).
Señor del mayor dolor
Señor del mayor dolor
como la morita negra
tengo yo mi corazón
y como la morita negra
tengo yo mi corazón

Aurelio (1929). With Ramón Montoya. Capo at fifth fret por arriba (key of A).
Remedio tú no tengas
remedio tú no tengas
que te corte a ti un cirujano
que la campanilla a la lengua
un cirujano a ti te corta
que la campanilla a la lengua

Aurelio (1962). With Andrés Heredia. Capo at fourth fret por arriba (key of G sharp).
Pregúntale tú a tu madre
pregúntale tú a tu madre
si es que te dice que no
que mi palabra es la que vale
si es que te dice que no
que mi palabra es la que vale

Paquirri 3

The melody of this style is somewhat similar to that of Paquirri 2. Both start at the first or second degree and eventually fall to the tonic, but this styles makes great use of linking and fragmenting of the sung lines, as does Enrique El Mellizo 2. After the repetition of the first sung line, the melody falls from this same high note to the tonic in the following sung line. The cante concludes with another melody that climbs up to the seventh degree and falls back to the tonic, although it should be pointed out that some singers fail to include this characteristic. Three- and four-line verse can be used. Echoes of this soleá are heard in the first line of Onofre 3. The repeated use of the melodic descent from tonic to tonic is also heard in Paquirri 2, El Portugués 1 and El Quino.

Aurelio (1929). With Ramón Montoya. Capo at third fret por arriba (key of G).
A Dios llorando yo le pido
le pido a Dios llorando
yo le pido a Dios llorando
que me quite la salud
y a ti te la vaya dando
en mis cortas oraciones
que yo le pido a Dios llorando

Pepe el de La Matrona (1969). With Manolo El Sevillano. Without capo por arriba (key of E). Notice Pepe's personal touch in the third sung line in the high notes heard in "remedio".
Remedio no tengas y que tú
remedio no tengas y que tú
remedio no tengas
que un cirujano te corte
la campanillita a la lengua
que te corte un cirujano
la campanillita a la lengua

Antonio Mairena (1972). With Melchor. Capo at fourth fret por arriba (key of G sharp).
Por Dios que esto es matarme ay po-
-or Dios que esto es matarme
y esto es quitarme la vida
y esto es comer de mis carnes
esto es quitarme la vida
y esto es comer de mis carnes

Antonio Mairena (1972). With Melchor. Capo at fourth fret por arriba (key of G sharp).
Que estaban queriendo perso-
-onas que están queriendo
y hasta de noche en la cama
y el querer les quita el sueño
hasta de noche en la cama
y el querer les quita el sueño

Enrique El Mellizo 1

Francisco Antonio Enrique Jiménez Fernández was born in Cádiz in 1848 and died in 1906. This differs from other opening styles like Joaquín el de La Paula 1 and La Serneta 1 in the high notes in the melody in the first half of the verse. The second half uses an ending that is very similar to that of La Serneta 1 and La Serneta 2 in the melody and in the "ay" that links the lines of verse. A shortened version of this cante is attributed to Enrique's son "El Morcilla."

Pastora (1914). With Luis Molina. Capo at fifth fret por medio (key of D). Notice Pastora's personal touch in the high note she adds to the third sung line (the "i" of bayetita).
Bayetita de la negra
de mi cuerpo quiero vestir
bayetita de la negra
de mi cuerpo quiero vestir
porque es la propia librea
ay que te pertenece a ti
bayetita de la negra
ay de mi cuerpo quiero vestir

Manuel Torre (1929). With Borrull. Capo at third fret por medio (key of C).
La fe mía del bautismo
yo la había empeñadito por tu querer
por tu querer la he empeñado
yo la he empeñado por tu querer
ahora te vas y me abandonas ay
que te castigue Undebel

Tomás (1950). With Melchor. Capo at sixth por arriba (key of B flat). Tomás stretches out this cante at several points, especially in the seventh line ("alma").
A mi madre de mi alma
lo que la camelo yo
lo que yo quiero a mi madre
lo que la camelo yo
porque la tengo presente ay
metida en el corazón
a mi madre de mi alma y
lo que la camelo yo

Antonio Mairena (1959?). With Melchor. Capo at fourth fret por medio (key of C sharp). Despite the high notes that characterize this style, Mairena recorded this track in a high register for his voice. This is considered a technique of sorts, causing the singer to make great efforts to reach the highest notes. As heard in the first half of the cante, it transmits the fury implied in the verse. Despite the poor sound quality, this is one of the greatest recordings of this style.
Como no puedo vengarme
de lo que has hecho conmigo
de lo que has hecho conmigo
de lo que has hecho conmigo
hablaré con Undebé ay
para que te mande un castigo
como no puedo vengarme ay
de lo que has hecho conmigo

Enrique El Mellizo 2

There are similarities between this style and Joaquín el de La Paula 3, but one of the clearest differences is in the melody: Both styles make use of the seventh scale degree in the first half of the verse, but the first sung line of Joaquín el de La Paula 3 only reaches the sixth scale degree before going on the seventh in the following sung lines, and Enrique El Mellizo 2 goes straight to the seventh scale degree from the first sung line. Notice the "zero verse" (an added line not originally included in the verse) at the sixth line in the versions of Torre, Tomás and Mairena.

Manuel Torre (1922). With El Hijo de Salvador. Capo at sixth fret por arriba (key of B flat).

(estrofa escrita)	(estrofa cantada)
Tan pobre era mi pena que no lo puedo aguantar se unen unas con otras como las olas del mar	No lo aguanto más no ag(u)a(nto) (no) puedo aguantar más se unen unas con otras como las olas del mar tan pobre era mi pena que no la puedo aguantar

Manuel Torre (1931). With Javier Molina. Capo at sixth fret por arriba (key of B flat).

(estrofa escrita)	(estrofa cantada)
Que le ruegues a Dios para que alivie las penas que tengo en mi corazón	Que le ruegues a Dios quiero que tú le ruegues a Dios para que me alivie las penas que tengo en mi corazón mamaíta de mi alma quiero que le ruegues a Dios

Tomás (1950). With Melchor. Capo at sixth fret por arriba (key of B flat). Tomás starts this excellent version on beat 11.

(estrofa escrita)	(estrofa cantada)
Le pido yo a Dios para que me aliviara las fatigas que tengo en el corazón	Le pido yo a Dios yo le estoy rogando a Dios para que me aliviara las fatigas que tengo en el corazón compañerita de mi alma que tengo en mi corazón

Aurelio (1959). With Melchor. Capo at third fret por arriba (key of G).

(estrofa escrita)	(estrofa cantada)
Tan sólo por tu querer la pájara aburrió el nido y no ha vuelto (a) entrar en él	Sólo por tu querer -erer tan só- -ólo por tu querer la pájara aburrió el nido y no ha vuelto (a) entrar en él y la pájara aburrió el nido y ya no ha vuelto (a) entrar en él

Antonio Mairena (1959?). With Melchor. Capo at fourth fret por medio (key of C sharp).

(estrofa escrita)	(estrofa cantada)
A pasar fatigas dobles pero ha de llegar la horita de que mi gusto se logre	Pasar fatigas pasar fatigas dobles y a pasar fatigas dobles pero ha de llegar la horita de que mi gusto se logre compañera de mis entrañas de que mi gusto se logre

Enrique El Mellizo 3

Although this style was recorded on many occasions at the beginning of the 20th century, it is rarely sung today.

Niño de Cabra (1907). With Enrique López. Capo at fourth fret por medio (key of C sharp).
Ya sale la luna llena
ya sale la luna llena
ya salen los resplandores
ay de tu camisa morena
ya salen los resplandores ay
de tu camisa morena

Paca Aguilera (1909). With Ángel de Baeza. Without capo por arriba (key of E).
Hombre ¿qué quieres de mí?
hombre ¿qué quieres de mí?
si a nadie en el mundo miro
cuando me acuerdo de ti
si a nadie en el mundo miro
cuando me acuerdo de ti

Pastora (1910). With Ramón Montoya. Without capo por arriba (actual pitch between E flat and E).
Amarillo sale el sol ay
amarillo sale el sol
ay qué amarillo salía el sol
manifestando las penas
que tiene mi corazón
colorado se traspone
y amarillo sale el sol

Mojama (1929). With Ramón Montoya. Capo at third fret por medio (key of C).
Las que en el silencio estén
las que en el silencio estén
ay que me quitan de la vera
de quién yo camelo bien
ay que redoblen las campanas
los que en el silencio estén

El Morcilla

José Enrique Jiménez Espeleta was the son of Enrique El Mellizo. He was born in Cádiz in 1877 and died in the same city in 1929. This cante is based on Enrique El Mellizo 1, differing mainly in the structure.

Manolo Vargas (1962). With Andrés Heredia. Capo at fourth fret por arriba (key of G sharp).
¿Dónde estabas metida?
dime dónde estás metida aaoaayy
que dime dónde estás metida
que yo te llamaba a voces aaaaay
que tú no me respondías
mamaíta de mi alma aay
que dime dónde estás metida

Pericón (1971). With Félix de Utrera. Capo at third fret por arriba (key of G).
Te lo (he) dicho en una broma
te lo (he) dicho en una broma
tan de veras lo has tomado
que ni a la puerta te asomas
lo tomaste tan de veras aaay
que ni a la puerta te asomas

Juan Ramírez

It is thought that he was born around 1880 in Jerez, and was the brother of the dancer Ramirito. This style seems to combine the beginning of Paquirri 1 and the conclusion of Enrique El Mellizo 1. Agujetas El Viejo was the only singer born up to 1920 to record this style, which makes it very difficult to analyze the development of this cante. However, certain recordings of Antonio Chacón and El Mochuelo of the style attributed to Ribalta offer details that may have served as antecedents in the creation of this soleá (Ribalta and Paquirri 1 share certain characteristics). In fact, Luis and Ramón Soler confirm having heard Agujetas El Viejo sing this style with the verse heard in the recording of Chacón. Other similarities are heard in some of El Cojo de Málaga's recordings of Enrique El Mellizo 1.

Agujetas El Viejo (1971). With Félix de Utrera. Capo at third fret por arriba (key of G).
Si te publico me pierdo
y mal si te publicara
si te publico me pierdo
y mal si te publicara
yo le voy a escupir al cielo
aaaay me va a caer en la cara
yo le voy a escupir al cielo
aaay me va a caer en la cara

Agujetas El Viejo (1971). With Félix de Utrera. Capo at third fret por arriba (key of G).
Si esta gitana supiera
la lástima que le tengo
si esta gitana supiera
la lástima que le tengo
como sé lo que es quererte
aaay sé lo que está padeciendo

Pepe el de La Matrona 1

Pepe Núñez Meléndez was born in 1887 and died in 1980. His friend and disciple Enrique Morente stated that Pepe learned this soleá from his mother Manolita La Matrona. The first sung lines reveal a certain amount of influence of La Serneta 3, such as the fourth scale degree.

Pepe el de La Matrona (1976). With Féliz de Utrera. Capo at fourth fret por arriba (key of G sharp).
Ramito de azahar
pintado en un papel verde
una Antoñita me mata
y que esta Manuela me pierde

Aurelio Sellés

Aurelio Sellés Nondedeu was born in Cádiz in 1887 and died in 1974. In José Blas Vega's biography of Aurelio, the artist mentioned that he sang a hybrid soleá, explaining that he substituted part of the soleá of Paquirri with the soleá of Frijones, because he found it difficult to sing the lowest notes. The biography includes the verse sung by Aurelio to illustrate this hybrid cante, but it does not correspond to anything that Aurelio recorded. None of this is particularly clear in the biography, and, unfortunately, the recordings made during the interview are not available. Nonetheless, Blas Vega and Luis and Ramón Soler have stated that Aurelio recorded this hybrid cante in 1962 with Hispavox, seen in the sample below. However, this version is very similar to Frijones 1 and has little to do with the four styles attributed to Paquirri. The same verse can be heard in a Jerez style recorded by and attributed to Manolo Caracol.

Fernanda de Utrera

Fernanda Jiménez Peña was born in Utrera in 1923. She sang this style during most of her recording career, and La Perrata recorded a similar version. The style seems to be a very personal version of Paquirri 3. Notice the two different melodies used to conclude the cante.

La Perrata (1971?). With Pedro Peña. Capo at sixth fret por arriba (key of B flat). The lines of verse are not fragmented, and the cambio repeats the same melody, as does the style attributed to El Quino. This differs from the two melodies heard in the cambio in Paquirri 3 and in the style attributed to Fernanda.
Los dos tenemos perdidos
los dos tenemos perdidos
si tú con tu gente pierdes
yo voy a perder sentido
si tú con tu gente pierdes
yo voy a perder sentido

Cádiz anonymous

Although there are no clues to attribute this style to any one artist, Luis and Ramón Soler point out the Cadiz air of this cante, recorded only by El Garrido de Jerez. It features certain characteristics of Frijones or even Juaniquí 2 in the repetition of the conclusion, although this may be due to the fact that El Garrido was from Jerez, rather than being a characteristic of this style.

El Garrido (1908). With Román García. Without capo por medio (key of A).
Te lo he dicho en una broma
que lo has tomadito tan a pecho
que ni a la puerta te asomas
que compañera de mi alma
te lo he dicho en una broma

Soleares of Córdoba

These styles are also known as "soleares de Onofre." The singer Manuel Moreno Madrid, known as Juanero el Feo, is the alleged creator of these styles, which are based on the soleá of Ramón El Ollero, and display some characteristics of La Serneta and Paquirri. Juanero El Feo transmitted these cantes to his son Ricardo, known as Onofre or Media Oreja. The recordings below were made by the grandson of Juanero El Feo, who was also known as Onofre. These soleás have been recorded almost exclusively by artists from Córdoba.

Onofre 1

The melody in the first sung lines is similar to that of Ramón El Ollero, but the structure of the cante is very different.

Onofre (1962). With José Morales. Capo at second fret por arriba (key of F sharp). The grandson of Juanero El Feo, José Moreno Rodríguez, made these recordings at 72 years of age.
No tengo padre ni madre
no tengo padre ni madre
qué triste empezó mi sino
tan sólo me encontré piedras ay
y zarzas en mi camino
tan sólo me encontré piedras ay
y zarzas en mi camino

Onofre 2

Echoes of La Serneta 3 can be heard in the first sung line.

Onofre (1962). With José Morales. Capo at second fret por arriba (key of F sharp).
Ahora que tengo dinero
ahora que tengo dinero
no encuentro piedras ni zarzas
qué mundo más embustero

Onofre 3

The first sung line is similar to that of Paquirri 3.

Onofre (1962). With José Morales. Capo at second fret por arriba (key of F sharp).
Hay dos cosas en el mundo
que te amargarán la vida
hay dos cosas en el mundo
que te amargarán la vida
un desprecio sin motivo
y un halago de mentira
un desprecio sin motivo
y un halago de mentira

Soleares of Jerez

The soleás of Jerez are the shortest, most dynamic and most rhythmical. Most of these styles end with a peculiar and characteristic melodic line.

Frijones 1

Recent research indicates that his name may have been Antonio Vicente Rafael María de Regla Vargas Fernández. If this is true, he would have been born in 1846 in Jerez and he would have been the first cousin of La Serneta. This style was much more frequently recorded in the past. The peculiar melodic line that characterizes the soleás of Frijones is heard in all of these examples in the second line of verse. This consists of a melodic arc with a characteristic rise and fall, although some styles and singers seem to use only the descent of this arc. The melody heard in the first line of Frijones 1 is similar to that of Manuel Cagancho 2. The complete melodic arc is heard in the second line of verse in nearly all versions of Frijones 1.

Manuel Torre (1909). With Juan Gandullas. Capo at second fret por medio (key of B).
(No) pegarle a mi padre ay
no pegarle a mi padre
que es un pobrecito viejo
que no se mete con nadie
que es un pobrecito viejo
que no se mete con nadie

Pastora (1914). With Luis Molina. Capo at fifth fret por medio (key of D).
(Mar)chemos para Pamplona ay
marchemos para Pamplona
que en la mitad del camino
me acordé de tu persona
que marchemos para Pamplona
que me acuerdo de tu persona

Pepe Torre (1959). With Melchor. Capo at third fret por medio (key of C).
Hermanita mía
no llores hermana mía
que en la casa de los pobres
nunca reina la alegría
en la casita de los pobres
nunca reina la alegría

Agujetas El Viejo (1975?). With Rafael Alarcón. Capo at fifth fret por arriba (key of A). He sings the second line with only the descent of the melodic arc, which seems to be more characteristic of Frijones 2.
Corre a llorar
corre a llorar
ay por no darle cuenta a nadie
de lo que me va a pa(sar)
ay por no darle yo cuenta a nadie
de lo que me va a pasar

Frijones 2

This is the most popular of Jerez styles. The first line reaches a higher note than the preceding style. It is normally sung with a peculiar structure in which the first line is isolated then repeated and linked to the second, the third line is linked to the second, and the first line is repeated. The second line of verse is sung with only the descent of the melodic arc.

Frijones 3

This may be a recreation of Triana anonymous 2. Luis y Ramón Soler state that this soleá is attributed to José Yllanda but bears certain characteristics of Frijones in the ending. According to the authors, Pastora Pavón, Antonio Mairena and Rafael Romero attributed this style to José Yllanda. Nonetheless, the Solers think that Yllanda recreated this style based on Frijones.

Pastora (1933). With Antonio Moreno. Capo at sixth fret por arriba (key of B flat).
Se lo pedí esta mañana
se lo pedí esta mañana
al Señor de El Baratillo uy
que me quiera esta serrana
al Señor de El Baratillo ay
que me quiera esta serrana

Antonio Mairena (1966). With Niño Ricardo. Capo at fifth fret por arriba (key of A).
Se lo pedí esta mañana
se lo pedí esta mañana
y al Señor de El Baratillo
ay que me quiera esta gitana
y al Señor de El Baratillo
ay que me quiera esta gitana

Frijones 4

This is basically a version of Frijones 2 that starts with a melody similar to that of La Serneta 1.

Tía Anica (1962). With Parrilla de Jerez. Capo at third fret por medio (key of C).
Qué malina era tu madre
mira qué mala es tu madre
mira qué mala es tu madre
ay que ella es la que ha tenido la culpa
que nuestro querer se acabe
por malina que ella ha sido
que nuestro querer se acabe

Antonio Mairena (1974). With Paco de Lucía. Capo at sixth fret por arriba (key of B flat). The second sung line is in the style of Juaniquí 2.
Yo nunca falté a mi ley
nunca de la ley falté
yo nunca a mi ley falté
la terelo tan presente
como la primera vez
que tan presente yo la tenía ay
como la primera vez

Tío José de Paula

José María Sebastián Soto Vega was born in Jerez in 1871 and died in 1955. José Cepero also recorded this style in 1926.

Tía Anica (1971). With Pedro Peña. Capo at fourth fret por arriba (key of G sharp).
(Tan im)posible yo hallo de darte
que yo a ti los buenos días
como se hacía padre un bautismo
en tierra de morería
ay como el que hacía un bautismo
en tierra de morería

Carapiera

It is thought that this singer's name was José Monge Niño. Tía Anica La Periñaca stated that he was a peer of Manuel Torre. This is perhaps the most unusual style of soleá, due to its major-key melody like that of cantiñas.

Agujetas El Viejo (1975?). With Rafael Alarcón. Capo at fifth fret por arriba (key of A).
De tus agravios yo me río
de tus agravios me río
por tus condiciones malas
y haces hablar a los mudos

Manuel Agujetas (1997). With Curro de Jerez. Capo at seventh fret por arriba (key of B).
Y por lo que tú quieras pase
por lo que tú quieras pase
mis libros los he repasado
y cuenta me tiene el dejarte

Teresa Mazzantini

It is thought that her name was Teresa Auseda, Oseda or Uceda, that she was the niece or daughter of the bullfighter Luis Mazzantini, and that she was born in El Puerto de Santa María around 1875. This seems to be her recreation of Frijones 1 with influences of Enrique El Mellizo 1 in the first sung lines. The melody heard in the fifth sung line is unusual.

Manuel Torre (1909). With Juan Gandullas. Capo at first fret por medio (key between B flat and B).
Primita de mi alma
mira qué juntitos estamos
prima de mi alma
mira qué juntitos estamos
ay yo alcé los ojos para verte
los tuyos no me miraron

Pastora (1910). With Ramón Montoya. Without capo por arriba (guitar tuned to D). Pastora adds a strong upturn in the melody in the fifth and seventh sung lines.
Qué juntitos estamos
mira qué juntitos estamos
(her)manita de mi alma
mira qué juntitos estamos
ay alcé los ojos para verte
los tuyos no me miraron
ay alcé los ojos para verte
los tuyos no me miraron

Pepe Torre

José Soto Loreto was born in Jerez in 1887 and died in 1970, and was the younger brother of Manuel Torre. This is basically a version of Frijones 2 that Pepe developed with his sense of melody and dramatic contrast. The first sung lines are reminiscent of Enrique El Mellizo 3.

Pepe Torre (1959). With Melchor. Capo at third fret por medio (key of C).
(Tus) cositas me tienen loco
(tus) cositas me tienen loco ay
tus cosas me tienen loco
y por eso me estoy quitando
y la vida poquito a poco
que yo me he quitado la vida
serrana poquito a poco

Manolo Caracol

Manuel Ortega Juárez was born in Seville in 1909 and died in 1973. The same verse can be heard in a Cádiz style recorded by and attributed to Aurelio. The beginning of this cante is very similar to that of Jerez anonymous.

Caracol (1958). With Melchor. Capo at fourth fret por arriba (key of G sharp).
Y anda y no presumas más aaaaay
anda y no presumas más
que tu carita no tiene
nadita de particular

Antonio Mairena 3

Styles 1 and 2 attributed to this singer correspond to the soleás of Alcalá and Triana, respectively. This cante is based on the soleás of Frijones, using a different melody for the first two sung lines.

Antonio Mairena (1969). With Melchor. Capo at second fret por medio (key of B).
Ven y siéntate en mi puerta
ven y siéntate en mi puerta
que te voy a escribir mi nombre
con un ramo de mosquetas
que te voy a escribir mi nombre
con un ramo de mosquetas

Antonio Mairena 4

This style is based on Frijones 2, although the first two lines use a different melody.

Antonio Mairena (1976). With Enrique de Melchor. Capo at sixth fret por arriba (key of B flat).
Por esto que a mí me pasa
que nadie me tenga dolor
nadie me tenga dolor
ay que yo por mis propias manitas
me he buscadito mi perdición
que yo por mi propia mano
me he buscadito mi perdición

Tío Borrico

Gregorio Manuel Fernández Vargas was born in Jerez in 1910 and died in 1983. Although this is clearly based on Enrique El Mellizo 1, the tortured delivery of Tío Borrico creates important differences, such as the shortened first lines, the modulation in the conclusion, and the overall interjection of pathos and suffering.

Borrico (1974). With Parrilla de Jerez. Capo at fifth fret por arriba (key of A).
Diez años después de muerto
y de gusanitos comido
diez años después de muerto
y de gusanitos comido
llevan mis huesos un letrero
señal de haberte querido

Borrico (1974). With Parrilla de Jerez. Capo at fifth fret por arriba (key of A).
Hazme con los ojos señas
hazme con los ojos señas
porque en muchas ocasiones
sirven los ojos de lengua

Jerez anonymous

Although several recordings of this style were made throughout history, there are no clues as to its authorship. However, Luis and Ramón Soler point out its rhythmic drive suitable for dancing and the Jerez-style conclusion. Singers seem to have used this cante as a "wild-card" soleá, matching different conclusions to the characteristic exposition: Pastora finishes in a low register, close to the tonic; Mojama concludes in a higher range, similar to Alcalá; and Rafael Romero injects the aire of jaleos extremeños. The exposition of this cante can also be found in the style attributed to Manolo Caracol and even in Yllanda 1.

Mojama (1929). With Ramón Montoya. Capo at fourth fret por medio (key of C sharp).
Dios te mandara un castigo
y cada persona que quieras
que se vuelva tu enemigo
y ven acá mala gitana
que se vuelva tu enemigo

Rafael Romero (1969). With Antonio Arenas. Capo at eighth fret por arriba (key of C). This recording is titled "Jaleos extremeños." In the conclusion of this and the following version, Rafael makes use of the flatted fifth degree, also heard in La Serneta 4, Juaniquí 4 and José Yllanda 3.
No se lo digas a nadie
no se lo digas a nadie
que he vendido mi jaca torda
y en dos mil quinientos reales
que he vendido mi jaca torda
y en dos mil quinientos reales

Rafael Romero (1969). With Antonio Arenas. Capo at eighth fret por arriba (key of C). Taken from the same recording as the sample above.
Vengo de la Extremadura
vengo de la Extremadura
de poner a mis caballos
de plata las herraduras
de ponerle a mi caballo
de plata las herraduras

Soleares of Lebrija

These styles are attributed to Juan Moreno Jiménez (1862-1946), known an Juaniquí, and Juan José Vargas Vargas (1903-1974), known as El Chozas. The styles attributed to El Chozas indicate a strong influence of Juaniquí. The first three styles of Juaniquí bear a characteristic upturn in the melody in the third sung line. The rise is a bit different in each style, and is most clearly heard in style 2.

Juaniquí 1

This style seems to be based on La Andonda 2. It shares with this style the repetition of an ascending melody in the first line. The third sung line contains the upturn that characterizes the soleás of Juaniquí. The last two lines of verse are normally repeated.

Tía Anica (1959). With Juan Moreno. Capo at third fret por medio (key of C). The ascending melody in the first line is very strong, and the upturn in the third sung line only reaches the seventh degree.
Tengo un hijo perdido yo tengo
tengo un hijo perdido
si Dios no me lo remedia
yo voy a perder mi sentido
si Dios no me lo remedia
yo perderé mi sentido

Joselero (1962). With Diego del Gastor. Capo at fourth fret por arriba (key of G sharp). The ascending melody in the first line is not as strong, and the upturn in the third sung line reaches the tonic.
(Mira) que no puedo con más mira
que no puedo con más que la-
-as carnes de mi cuerpo
a cachitos a mí se me van
compañera de mi alma
a cachitos a mí se me van

Juaniquí 2

This style is very similar to the one preceding it, but the melody of the first verse is not the same, nor is the conclusion normally repeated. In the following samples, the upturn in the third sung line reaches the tonic.

Fernanda (1970). With Marote. Capo at ninth fret por arriba (key of C sharp).
Cualquier diita menos pensado
cualquier día menos pensado
que este flamenco se entere
yo le voy a dar de lado

Antonio Mairena (1976). With Enrique de Melchor. Capo at sixth fret por arriba (key of B flat).
Cuando en la calle te encuentro
cuando en la calle te encuentro
yo a ti te hago tres cruces
como si te hubieses muerto

Juaniquí 3

The melody in the first line is a drawn-out variation of that heard in the styles of Manuel Cagancho 1, Noriega, Juan Talega and Joselero. This style differs greatly from the other two attributed to Juaniquí as it has a dreamier and more majestic air. It is similar in some regards to La Serneta 3 and La Serneta 5.

Joselero (1962). With Diego del Gastor. Capo at third fret por arriba (key of G).
Me juegan consejo de guerra
me juegan consejo de guerra
que si me ven hablar contigo
primita y en Puerto Tierra
compañera de mi alma
primita y en Puerto Tierra

Antonio Mairena (1966). With Melchor. Capo at fifth fret por arriba (key of A).
Por allí viene mi bata
por allí viene mi bata
y déjala pasar de largo
que a mí sus ducas me matan
déjala pasar de largo
que a mí sus ducas me matan

Juaniquí 4

With the flatted fifth degree in the melody, this style is clearly related to La Serneta 4.

Tía Anica (1959). With Juan Moreno. Capo at third fret por medio (key of C).
Nunca de la ley falté
que nunca de la ley falté
nunca de la ley falté
y yo a ti tengo tan presente
ayy como la primera vez
y tan presente te tengo
y como la primera vez

Agujetas El Viejo (1971). With Félix de Utrera. Capo at third fret por arriba (key of G). The conclusion is reminiscent of the Cádiz style attributed to Juan Ramírez (in the recording, Agujetas sings this cante after two soleás of Juan Ramírez).
Valiente gusto he tenido
yo he tocado a tu persona
ay todo el tiempo que yo he querido
yo he tocado a tu persona
ay todo el tiempo que yo he querido

Tía Anica (1977). With Diego Carrasco. Capo at sixth fret por arriba (key of B flat).
Ay nunca de la ley yo falté
yo te sigo a ti queriendo
como la primera vez
yo te sigo a ti queriendo
como la primera vez

El Chozas 1

Juan José Vargas Vargas was born in Lebrija in 1903 and died in 1974. Many aficionados admire his anarchic and original approach. The first sung line is similar to La Andonda 1, the second sung line continues with this melody and that of Juaniquí, and the conclusion contains echoes of Frijones.

El Chozas (1971). With Félix de Utrera. Capo at seventh fret por arriba (key of B). Notice the unusual meter.
Al beaterio Lorenzo
yo que le tengo a él que reñir
que se mete con la madre (de) mis hijos
cuando él la ve

El Chozas 2

El Chozas' unique form of expression is much more clearly observed in this style, and his combination of irrationality and extravagance are taken to unsuspected limits. The versions seen here of this style offer several variations on a basic musical structure closely associated with Juaniquí. Notice the irregular meter.

El Chozas (1971). With Félix de Utrera. Capo at seventh fret por arriba (key of B).
Dime si yo te he quitado alguna vez
serrana de que tú vayas a misa
tampoco que vayas tú a confesar
lo que quiero (es) que tú no me olvides
prima para la eterni(dad)

El Chozas (1971). With Félix de Utrera. Capo at seventh fret por arriba (key of B).
Por tal de no pegarle un día
yo a esta mujer yo le puse un día
el interés, cariño y el dinero
y no supo a mí ella ni contestarme
aluego se me echó a llorar
y yo la miré a la cara
era una Virgen del Carmen
tuve yo que perdonarla

El Chozas (1971). With Félix de Utrera. Capo at seventh fret por arriba (key of B).
Si alguna vez tú llegabas a mi casa
y a ti mi gente te ocultaban mi nombre
ve tú al convento de las Marías
que por quererte yo tanto
allí me tienen metida

El Chozas (1971). With Félix de Utrera. Capo at seventh fret por arriba (key of B).
Si alguno de ustedes de los señores
ustedes vais al cortijo
y la señora pregunta ella por mí
que voy a ver los erales
que están llorando por mí

El Chozas (1971). With Félix de Utrera. Capo at seventh fret por arriba (key of B).
Sin conocerte yo estoy loca
yo es que estoy loca yo sin conocerte
el día que te conozca
que voy a morir loca perdida
voy a morir loca perdida
porque yo no voy a olvidarte
para los restos de la vida

Soleares of Triana

Characterized by their antiquity and harmonic range, the soleás of Triana form the most numerous group of styles. Some make use of difficult modulations, contrasting extreme highs and lows in complicated arcs within a single line of verse. Many of these styles end in a much lower register than the beginning of the cante. A number of Triana styles are known as "apolás," because they have been used to conclude polos or cañas (apolá = "apolada"). Other styles are known as "del Zurraque" or "de la cava de los civiles," and were sung by a large non-Gypsy community of local tradesmen in and around a certain part of Triana.

El Fillo 1 (apolá)

It is thought that his name was Francisco Ortega Vargas, that he was born around 1810 in Puerto Real, and that he died in 1878. Naranjito de Triana stated that his uncle Naranjito El Viejo had commented that El Fillo sang a soleá between the caña and the polo to lessen the monotony of both styles. Luis and Ramón Soler think that they have found this soleá in a cylinder recording of Paco el de Montilla.

Paco el de Montilla (189?), accompanying himself. Due to the poor audio quality, it is impossible to determine the key or capo position. Luis and Ramón Soler state that the first sung lines of this cante are similar to those of some of the earliest recordings of cañas and polos and are also reminiscent of the ancient corridos gitanos. The conclusion features some characteristics of La Serneta and perhaps of Ramón El Ollero. In the fifth sung line, the repetition of the conclusion uses a melody also heard in Antonio Mairena's version of the soleá of Enrique Ortega.
En la Cortina de los Reyes
y yo amanecí esta mañana
a Undebel le estoy pidiendo
que me quiera a mí esta serrana
a Undebel le estoy pidiendo
que me quiera esta serrana

El Fillo 2 (apolá)

There are differences between these two recordings, particularly in the second sung line.

Juan Breva (1910). With Ramón Montoya. Capo at fourth fret por medio (key of C sharp). Juan Breva sings this style with four-line verse that ties in with another verse closely associated with a siguiriya attributed to El Fillo.
Me hubiera muerto de hambre
si no fuera por mi hermano
me hubiera muerto de hambre
nunca le falta a mi hermano
un cachito de pan que darme
Si no fuera por mi hermano
me hubiera muerto de hambre

Tenazas (1922). With El Hijo de Salvador. Capo at second fret por arriba (key of F sharp). Tenazas sings three-line verse.
A ti te espera lograr
a ti te espera lograr
divertirte con otro
que me partiera a mí en dos (?)
divertirte con otro
que me partiera a mí en dos (?)

Paquirri 4 (apolá)

A prominent characteristic of this style are the melodic lines covering a range of an octave and a half (the fifth scale degree is heard at the beginning and throughout). It is similar to Paquirri 2 and El Quino in its breakneck delivery and arrangement of lines of verse, but the melodic descent in these two styles starts at the tonic. The beginning of this soleá is similar to that of Charamusco, although the next-to-last sung line starts with the same high notes heard in the beginning, and the conclusion of the soleá of Charamusco involves a lower register.

Tenazas (1922). With El Hijo de Salvador. Capo at second fret por arriba (key of F sharp).
(Me i)magino entre mí
(Me i)magino entre mí
a nadie en el mundo quiero aaaaauy
cuando me acuerdo de ti
nadie en el mundo quiero aaaaauy
cuando me acuerdo de ti

Pepe el de La Matrona (1954). With Perico del Lunar padre. Capo at sixth fret por medio (key of D sharp).
Puente de Triana
se cayó la barandilla aouauay
y el coche que la llevaba
se cayó la barandilla aouauay
y el coche que la llevaba

La Andonda 1

We know next to nothing about this singer, and there is some disagreement as to her place of birth. In 1879, Demófilo wrote that she was from Jerez, and two years later he included her in a list of singers from Morón. In 1905, Núnez de Prado wrote that she was from Utrera. According to oral tradition, she lived in Triana and was much younger than her lover El Fillo. Luis and Ramón Soler state that the soleás of La Andonda were popular in Ronda. The authors point out the abundance of these styles in the recordings of Paca Aguilera and the ties between certain families of Gypsy artists from Ronda and Morón. Style 1 attributed to this singer has been recorded many times throughout history and remains very popular today. It is sometimes referred to as the "soleá grande de Triana."

Paca Aguilera (1909). With Ángel de Baeza. Without capo por arriba (key of E).
Estoy metida entre cadenas
estoy como la que está cautiva
estoy metida entre cadenas
estoy como la que está cautiva
mira si vivo con pena
(es)toy muerta estando viva
mira si vivo con pena
estoy muerta estando viva

Fernanda (1959). With Paco Aguilera. Capo at fourth fret por medio (key of C sharp).
Ay por el hablar de la gente
olvidé a quien bien quería
olvidé yo a quien bien quería
olvidé a quien bien quería
para mientras viva en el mundo
se me acabó la alegría

Juan Talega (1959). With Manuel Morao. Capo at third fret por arriba (key of G).
Dices que tú a mí no me quieres
pena yo no tengo ninguna
pena no tengo ninguna
pena yo no tengo ninguna
porque yo con tu querer
no tenía hecha escritura

La Andonda 2

By 1911, this cante had been recorded five times. Notice the fragmented lines of verse. It is thought that this soleá inspired the styles José Yllanda 2 and Juaniquí 1. The style attributed to El Machango features a strong ascending melody in the cambio that is reminiscent of this cante.

Antonio Mairena (1976). With Enrique de Melchor. Capo at sixth fret por arriba (key of B flat).
Siéntate a mi cabecera sienta-
-ate a mi cabecera fija-
-a tus ojos en los míos
y entonces quizás no muera
fija tus ojos en los míos
y entonces quizás no muera

La Andonda 3

Notice the fragmented lines of verse. The melody in the first lines of this style is somewhat similar to that heard in the melodic climax of Joaquín el de La Paula 3.

Paca Aguilera (1909). With Ángel de Baeza. Without capo por arriba (key of E).
(Y a vi)vir a una montaña que a vivir
-vir a una montaña que llévame
donde tú quisieras
que por dinerito no lo hagas
(llé)vame donde tú quisieras
que por dinerito no lo hagas

Antonio Mairena (1963). With Melchor. Capo at seventh fret por arriba (key of B).
Le pido a Jesús mío se lo-
-o pido a Jesús mío y por lo-
-o que pasó en el huerto
te borraran de mi sentido
por lo que pasó en el huerto
te borraran de mi sentido

Silverio 1 (apolá)

Silverio Franconetti Aguilar was born in Seville in 1831 and died in 1889. This style is also known as the soleá-petenera, perhaps because in both styles the first two lines of verse must be repeated to bring the melody back to the tonic, although this is not a characteristic of all the versions of this style. The melody in the first line is somewhat similar to that of El Portugués 2. The cante ends with the second half of the verse and the repetition of the first half and uses a melody present in both styles of Silverio and that of Enrique Ortega.

Rafael Romero (1968). With Antonio Arenas. Capo at fifth fret por arriba (key of A).
Como caballo sin freno
tienes flamenca el arranque
tú no te acuerdas de mí
y hasta que no estoy delante
como un caballo sin freno
tienes el arranque

Silverio 2 (apolá)

This soleá starts with a melody that can also be found at the beginning of the styles José Lorente and, in a slightly different form, in the style Triana anonymous 1. These three styles begin with a very similar melody, especially this style of Silverio and that of Lorente, but end in clearly distinct ways. Compare the fifth sung line of Pepe el de La Matrona and the third sung line of Antonio Mairena in this style with the fifth sung line in both the versions of Lorente. Silverio 2 remains in a higher register, and requires two more sung lines to bring the melody back down to the tonic. From the third line of verse onward, we can hear a melody present in both styles of Silverio and that of Enrique Ortega.

La Serneta 4

Style 1, 2, 3, 5 and 6 attributed to this singer correspond to Utrera. This style has been attributed to José Yllanda, but Luis and Ramón Soler state that it corresponds to La Serneta. This style may be the origin of Juaniquí 4. Of special interest is the flatted fifth degree heard in the first sung lines and in the first line of the conclusion. The conclusion of this style is similar to that of José Yllanda 3.

Chacón (1909). With Juan Gandullas. Capo at third fret por medio (key of C). The flatted fifth degree is heard in the first ("(pas)ar"), third ("de") and fifth ("me (sir)ve (llor)ar") sung lines.
Ni pasar por ti quebrantos
ni pasar por ti quebrantos
tú si no tienes de ser mía ay
como Dios no haga un milagro
y de qué me sirve llorar
ni pasar por ti quebrantos

Chacón (1913). With Ramón Montoya. Capo at fifth fret por medio (key of D). The flatted fifth degree is heard in the first ("(pas)ar"), second ("(pas)ar" and "ti"), third ("de") and fifth ("sir(ve)") sung lines.
Ni pasar por ti quebrantos
ni pasar por ti quebrantos
tú si no tienes de ser mía ay
como Dios no haga un milagro
de qué me sirve llorar ay
ni pasar por ti quebrantos

Tenazas (1922). With El Hijo de Salvador. Capo at eighth fret por medio (key of F). The melody in this version does not include the flatted fifth degree.
¿No te se pone presente
no te se pone presente
lo gitano que yo he sido
que serrana para quererte
lo gitano que yo he sido
que serrana para quererte?

Rafael Romero (1967). With Antonio Arenas. Capo at seventh fret por arriba (key of B). Rafael makes frequent use of the flatted fifth degree throughout.
Se lo pido a Jesús mío
se lo pido a Jesús mío
por las que he pasado en el huerto
te quiten de mi sentido
compañera de mi alma
te quiten de mi sentido

La Serneta 7

This was the most frequently recorded soleá in the first decade of the 20th century, as seen in the recordings of a number of different artists.

Escacena (1907). With Román García. Capo at first fret por medio (key of B flat).
Te quisiera preguntar
te quisiera preguntar
que cuando me ves te alegras
o (si) te sirve de pesar
que cuando me ves te alegras
o (si) te sirve de pesar

Chacón (1913). With Ramón Montoya. Capo at fifth fret por medio (key of D).
Quien pudiera penetrarlo
quien pudiera penetrarlo
y para ponerle remedio ayu
y antes que viniera el daño
y males que acarrea el tiempo
quien pudiera penetrarlo

Mojama (1929). With Ramón Montoya. Capo at fourth fret por medio (key of C sharp).
La mañana temprano
la mañana temprano
y nadie se arrime a mi vera ay ay
nada más quien fuere serrano
y a mí nadie se acerque ay ay
nada más quien fuere serrano

Ramón El Ollero

This style is attributed to a singer named Ramón Rodríguez, the uncle of the singer and writer Fernando de Triana. It is thought that he was born in the 1830s or 1840s and died in 1903 or 1904. This soleá seems to have served as inspiration for an abbreviated but soulful version attributed to El Machango. It is thought that the soleá of Ramón El Ollero did not include the strong ascending melodic line heard in the cambio of El Machango. Other cantes based on this style are Onofre 1, José Yllanda 3, El Sordillo 1-2 and Triana anonymous 5.

Revuelta (1907). With Román García. Capo at fifth fret por arriba (key of A).
Cada vez (que) considero
madre que me voy a morir
es que me voy a morir
madre que me voy a morir
y alzo los ojos al cielo
mi Dios ¿para qué nací?
y alzo los ojos al cielo
mi Dios ¿para qué nací?

El Carbonerillo (1930). With Manolo de Badajoz. Capo at third fret por arriba (key of G). Notice that the conclusion of this version uses two different melodies. The upturn in the fifth sung line approaches the melody heard in El Machango, and the seventh sung line falls from tonic to tonic, as heard in the versions of Revuelta and Cobitos.
(La) vanidad y el orgullo
que se acabaron para toda tu vida
(la) vanidad y el orgullo
que se acabaron para toda tu vida
ya quiso Undebel del cielo
que pagues lo que debías
ya quiso Undebel del cielo
que pagues lo que debías

Cobitos (1969?). With Manuel Cano. Without capo por arriba (key of E).
Cuando paso por un templo
a Dios le pido salud
a Dios le pido salud
a Dios le pido salud
porque la poca que tengo
me la estás quitando tú
porque la poca que tengo
me la estás quitando tú

Enrique Ortega (apolá)

Enrique Ortega Feria "El Gordo" was the son of Enrique Ortega Díaz "El Viejo." It is thought that he was born in Cádiz around 1840. Many artists have sung this soleá to finish off polos and cañas, styles that were also frequently sung by Enrique Ortega Feria. The lengthening of the last syllable in the first sung line is very similar to that of the style of Francisco Amaya. This cante is based on the melody used to end both styles attributed to Silverio.

Juan Breva (1910). With Ramón Montoya. Capo at fourth fret por medio (key of C sharp).
(Ni los) Templarios de Roma
ni él que inventó a los tormentos
te tienen que ay querer tanto a ti
como lo que estoy queriendo
compañera de mi alma
como lo que estoy queriendo

Antonio Mairena (1964). With Melchor. Capo at third fret por arriba (key of G). The repetition of the conclusion is very similar to that heard in a soleá of Paco el de Montilla that Luis and Ramón Soler have classified as El Fillo 1.
No sé lo que le ha dado
esta gitana a mi cuerpo
que hago por olvidarla
y más presente yo la tengo
no sé lo que le ha dadito
y esta gitana a mi cuerpo

Santamaría

Pepe el de La Matrona (1947). With Manolo El Sevillano. Capo at third fret por arriba (key of G).
Campanas redoblaron
campanas redoblaron
y las sepulturas se abrieron ay
los muertos resucitaron
y las sepulturas se abrieron ay
los muertos resucitaron

José Lorente (apolá)

It is thought that he was a disciple of Silverio born in Triana in the 1840s and that the two sang together on many occasions. This soleá starts with a melody that can also be found at the beginning of the styles Triana anonymous 1 and Silverio 2. The style of Lorente seems to be a shortened version of Silverio 2. Notice the difference in the melody from the fifth sung line onward. Due to this difference, Silverio 2 requires another two sung lines to bring the melody down to the tonic.

Pepe el de La Matrona (1954). With Perico del Lunar padre. Capo at sixth fret por medio (key of D sharp).
El día del terremoto
llegó el agüita hasta arriba
(El día) del terremoto grande
llegó el agüita hasta arriba
pero no pudo llegar
adonde llegó mi fatiga
pero no pudo llegar
adonde llegó mi fatiga

Camarón (1971). With Paco de Lucía. Capo at second fret por arriba (key of F sharp). This version varies considerably from that of Pepe el de La Matrona but seems to be based on the same style. The differences heard here are the held note in the last word of the first line of verse (which is similar to the vocalization heard in Triana anónimo 1), the repetition of the second line of verse and the vocalization heard at the end of the third line of verse. Also worth noting is the VII7 chord that Paco strikes in the middle of the third line of verse ("...nunca te...").
El espejo donde te miras
te dirá cómo tú eres
te dirá cómo tú eres
te dirá cómo tú eres
pero nunca te dirá ay ay
los pensamientos que tienes

Manuel Cagancho 1

Manuel Rodríguez García was born in Triana in 1846. The melody in the first line is shared with the styles attibuted to Noriega, Juan Talega, Joselero and, to a lesser extent, Juaniquí 3.

Manuel Cagancho (189?). With El Niño de Carmen. Due to the poor audio quality, it is impossible to determine the key or capo position. At the end of the third sung line there is an upturn in the melody reaching the seventh degree that is reminiscent of the melodic climax in Joaquín el de La Paula 3.
Desde aquel día
Desde aquel día
ay.....................
........... (¿vera mía?)
ay diviértete con quien quieras (...)
........... (¿vera mía?)

Juan Breva (1910). With Ramón Montoya. Capo at fourth fret por medio (key of C sharp).
(No) me des mala vida
(no) me des mala vida
que yo no le doy a nadie
en el mundo los buenos días
compañera de mi alma
no me des tan mala vida

Juan Breva (1910). With Ramón Montoya. Capo at fourth fret por medio (key of C sharp).
(Por) mi puerta pasaste
(por) mi puerta pasaste
visitando a los enfermos
y a mí no me visitaste
Señor del Mayor Dolor
que por mi puerta pasaste

Manuel Pavón (1910?). With Ramón Montoya. Capo at fifth fret por medio (key of D). The first line uses a different melody, somewhat similar to La Serneta 5.
Voces como un loco
Voces como un loco
y salió la muerte y me dijo
que tú querías a otro
y salió la muerte y me dijo
que tú querías a otro

Manuel Cagancho 2

This soleá was recorded by two artists, but the only version available for this study is that of Manuel Cagancho. It is similar to his version of the preceding style, but the first line is sung in a higher register, somewhat similar to the beginning of Frijones 1, and the second half of the cante is different, without the upturn heard in his version of the preceding style. This soleá is similar to Pepe el de La Matrona 2, Antonio Mairena 2 and, in particular, Joaquín el de La Paula 2.

Manuel Cagancho (189?). With El Niño de Carmen. Due to the poor audio quality, it is impossible to determine the key or capo position.
Le estoy dando largas al tiempo
le estoy dando largas al tiempo
por ver si con el desengaño
vuelves tú al conocimiento
por ver si con el desengaño
vuelves tú al conocimiento

El Portugués 1 (apolá)

His name was Antonio Silva, and it is thought that he was born in the 1840s or 1850s. Although he was born in Jerez, he lived most of his life in Granada. Manuel Celestino Cobos "Cobitos" learned these styles from Antonio Silva, and is considered the maximum exponent in the soleás of El Portugués. His recordings of style 1 (including two samples not included here from informal gatherings) structure the verse in different ways, as do those of other artists (three- and four-line verse have been used in several different ways). However, a study of the recordings of Cobitos reveals a general melodic pattern: A quick ascending line reaches the tonic and second degree, eventually modulating down an octave to the tonic at the end of the second sung line. This is sometimes repeated, and the modulation around the high tonic often reaches the third degree at some point in the first half of the cante. For the second half, the melody returns to the high tonic on the second syllable of the line of verse used and modulates back down to the low tonic at the end of the next line of verse. The repeated use of the melodic descent from tonic to tonic is also heard in Paquirri 2, Paquirri 3 and El Quino.

Cobitos (1969?). With Manuel Cano. Without capo por arriba (key of E).
Me quitan de que te hable
pero me han dejadito libres
los ojos para mirarte
pero me han dejadito libres
los ojos para yo mirarte

Cobitos (1969?). With Manuel Cano. Without capo por arriba (key of E).
Toda la noche sin dormir
que toda la noche sin dormir
que toda la noche sin dormir
sentadito en mi petate
y acordándome de ti
sentadito en mi petate
y acordándome de ti

El Portugués 2 (apolá)

The melody in the first line is somewhat similar to that of Silverio 1, and the ending is the same as that of El Portugués 1.

Cobitos (1969?). With Manuel Cano. Without capo por arriba (key of E).
Candelas del cielo
del cielo caigan candelas y más candelas
le caigan a tu madre encima
por tener malina lengua
le caigan a tu madre encima
por tener malina lengua

Ribalta (apolá)

Practically nothing is known about this singer. He may have born in the 1850s or 1860s. This style is similar to Paquirri 1 in the melody used for the first two sung lines and the repetition of the second line of verse. The versions of Chacón and El Niño de Cabra conclude with a melody somewhat similar to that of La Serneta 4, but the flatted fifth degree is missing, among other differences.

Escacena (1907). With Román García. Capo at first fret por medio (key of B flat).
Ay que
Las fatigas de la muerte
qué grandes fatiguitas son
qué grandes fatiguitas son
que las de mi compañera
no tienen comparación
que las de mi compañera
no tienen comparación

Chacón (1913). With Ramón Montoya. Capo at fifth fret por medio (key of D).
Nadie se arrima a mi cama
que estoy ético de pena
nadie se arrima a mi cama
que estoy ético de pena
y que estoy ético de pena
y el que muere de mi mal
y hasta la ropa le queman
y nadie a mi cama se arrime
que estoy ético de pena

Niño de Cabra (1929). With Ramón Montoya. Capo at sixth fret por arriba (key of B flat).
(Ni) contigo ni sin ti
mi mal no tiene remedio
y no tiene mi mal remedio
contigo porque me mata
y sin ti porque me muero
contigo porque me mata
y sin ti porque me muero

Francisco Amaya

Francisco Amaya was the grandfather of Diego del Gastor. It is thought that he might have been born around 1860. Joselero habitually recorded this soleá along with another cante attributed to him, and the comments of Diego del Gastor seem to indicate that Diego's father sang both of these styles. Notice the upturn in the melody of the second line of verse, similar to that in the third line of El Machango.

Joselero (1962). With Diego del Gastor. Capo at third fret por arriba (key of G). Diego comments, "¡Anda Luis! El cante de mi padre."
Que es una escalera de vidrio
que es una escalera de vidrio
que por una suben las penas auau
por otra bajan al martirio

Joselero (1975). With Diego de Morón. Capo at third fret por arriba (key of G).
Yo te estoy queriendo a ti ay
que yo te estoy queriendo a ti
que con la misma violencia
que lleva el ferrocarril

Joselero (1976). With Diego de Morón. Capo at first fret por arriba (key of F).
Yo te estoy queriendo a ti aaaayy
yyaayaaay aaayyyyaaay
que yo te estoy queriendo a ti
que con la misma violencia uau
que lleva el ferrocarril

Pinea

Almost nothing is known about this soleá, although it appears in the earliest flamenco recordings. Luis and Ramón Soler attribute this style to Pinea, based on the only reference in existence, by Antonio Mairena. This singer of the 19th century was also known as Piner El Zapatero, Viejo Pinea and Cojo Pinea.

Manuel Cagancho (189?). With El Niño de Carmen. Due to the poor audio quality, it is impossible to determine the key or capo position.
Anda a la iglesia y confiesa
que tienes en este mundo
muchas cosas malas hechas
que tienes en este mundo
muchas cosas malas hechas

Rafael El Moreno (189?). Unknown guitarist. Due to the poor audio quality, it is impossible to determine the key or capo position.
Tuvo mi cuerpo más pérdidas
y que aquel pobre mercader
y que se le quemó la tienda
que aquel pobre mercader
y que se le quemó la tienda

Pastora (1910). With Ramón Montoya. Without capo por arriba (guitar tuned to D).
Tierra echada en la cara
si yo escuchara tu nombre
creo que resucitara
diez años después de muerta
con la tierra echada en la cara

Antonio Mairena (1976). With Enrique de Melchor. Capo at sixth fret por arriba (key of B flat). This version uses four-line verse, with Mairena's personal touch in the third line.
Esta casa huele a gloria
Dios mío ¿quién vive aquí?
aquí vive una gitana
ay que está loquita por mí
y aquí vive una gitana
que está loquita por mí

José Yllanda 1

It is thought that this singer was born in Andújar or Linares in the 1860s, and went to Jerez and Utrera in his youth, where he came into contact with La Serneta. Luis and Ramón Soler attribute this style to José Yllanda. Other reserchers have attributed to Yllanda the style that they classify as La Serneta 4.

El Garrido (1908). With Román García. Without capo por medio (key of A).
Reniego yo de los rosales
yo reniego de la rosa que
me regaló tu madre
compañera de mi alma
reniego de los rosales

José Yllanda 2

This style is thought to be a recreation of La Andonda 2. The conclusion of this soleá is very similar to that of La Serneta 3, especially in the version of Tomás. This is clearly seen in the use of the sharped second degree in the second and third lines of verse of this style. The only recordings of this cante, by Rafael Romero, include a fragmented first line.

Rafael Romero (1967). With Antonio Arenas. Capo at seventh fret por arriba (key of B). The sharped second degree is heard in the third ("(adjud)i(cando)") and fourth ("ca(samiento)") sung lines. Notice Rafael's interjection of "por Dios" to make better use of the fragmentation of the first line.
Que me tiro a un pozo por Dios
que me tiro a un pozo que me-
-e están adjudicando
un casamiento forzoso
que me están adjudicando
un casamiento forzoso

Rafael Romero (1973). With Perico del Lunar hijo. Capo at sixth fret por arriba (key of B flat).
(Tú eres) zarza y yo me enredo tú eres
zarza y yo me enredo y eres
la rosa fragrante
del jardín de mi deseo
eres la luz de mi sol
y jardín de mi recreo

José Yllanda 3

This seems to be based on the style attributed to Ramón El Ollero. The conclusion is very similar to that of La Serneta 4, with the flatted fifth degree.

Rafael Romero (1973). With Perico del Lunar hijo. Capo at sixth fret por arriba (key of B flat).
Como los muertos no hablan
ni oyen ni ven ni entienden
yo estoy viviendo en el mundo
sin tener quien me gobierne
estoy viviendo en el mundo
sin tener quien me gobierne

Rafael El Moreno 1

Rafael Rico Expósito was born in Jerez in 1867 and died in Málaga in 1923. It is thought that he recreated the soleás apolás that were made popular in Málaga towards the end of the 19th century by Silverio, Dolores La Parrala and Juan Breva. His recreations, known as "soleares de El Moreno," were reportedly well-known and sung in the center and east of Andalucia, in Córdoba, Málaga and Granada. The conclusion of this style is similar to that of Pinea, but with a broader melodic range.

Rafael El Moreno (189?). Unknown guitarist. Due to the poor audio quality, it is impossible to determine the key or capo position.
Ay de mi padre y de mi madre
y en faltándome la tuya
y calor no tengo de nadie
yo (................) calor
de mi padre y de mi madre

El Machango

Juan Moreno, the grandson of Juaniquí, stated that El Machango was a Gypsy from Sanlúcar whose last name was Flores. This soleá seems to be an abbreviated but soulful version of the style attributed to Ramón El Ollero. According to Ramón Soler, this soleá was sung in the area around Utrera and Lebrija (not Alcalá) by Juaniquí and a singer named El Machango, to whom the style is attributed. With its charcteristic strong ascending line in the cambio and highly developed musical structure, this seminal version influenced many singers, such as Antonio Mairena, Perrate and Fernanda de Utrera. This ascending line is similar to the upturn heard in the conclusion of Francisco Amaya and can be likened to that of La Andonda 2 and Juaniquí. In 1992, Luis and Ramón Soler identified the versions below of Antonio Mairena and Joselero as Ramón El Ollero. The authors subsequently rectified this classification, although their 2004 publication "Los Cantes de Antonio Mairena" maintains it for the version of Mairena.

Antonio Mairena (1958). With Paco Aguilera. Capo at sixth fret por arriba (key of B flat).
(Son) los cuatro puntalitos
y que sostienen a Triana
sostienen a Triana
y que sostienen a Triana
san Jacinto y los Remedios
la O y seña Santana
san Jacinto y los Remedios
la O y seña Santana

Joselero (1962). With Diego del Gastor. Capo at fourth fret por arriba (key of G sharp). The first line is sung in the style of Paquirri 2.
La suerte que tú has tenido
de que yo no tenía una malina lengua
no tenía una malina lengua
que no tenía una malina lengua
pero en mi vida he tenido
ni quiera Dios que la tenga

Perrate (1962). With Eduardo el de La Malena. Capo at fourth fret por arriba (key of G sharp). Unfortunately, the audio file includes a skip in the recording at the sixth sung line, but it will serve for comparison.
De eso que la gente habla
de eso que la gente habla
grandes cuidados me se daba
y qué cuidado me se daba
grandes cuidados me se daba
yo hago las anchas veras (?)
y la mentira verdad (?)

Fernanda (1966). With Niño Ricardo. Capo at third fret por medio (key of C).
Acercas tú a tu mare
ay tú acercas tú a tu mare
tú me tenías abandonada
(me) tienes abandonada
tú me tenías abandonada
lo mucho que te quiero
y el mal pago que me das
lo mucho que te quiero
y el mal pago que me das

Rafael Romero (1968). With Antonio Arenas. Capo at fifth fret por arriba (key of A). The three-line verse makes it practically impossible to include the repetition of the second line of verse heard in other versions.
Tienes muchas cosas mías
tú tienes muchas cosas mías
pero te falta un renglón
que no está en la letanía
pero te falta un renglón
que no está en la letanía

Rafael Romero (1969). With Sabicas. Capo at sixth fret por arriba (key of B flat). Although four-line verse is used, the second line is not repeated.
No sé lo que le ha dadito
esta flamenca a mi cuerpo
que yo hago por olvidarla
y más presente la tengo
no sé lo que le ha dadito
esta flamenca a mi cuerpo

Joselero (1976). With Diego de Morón. Capo at first fret por arriba (key of F). As in his 1962 recording, Joselero sings the first line of verse in the style of Paquirri 2.
La suerte que tú has tenido
de que yo no tenía una malina lengua
no tenía una malina lengua
que yo no tenía una malina lengua
lo que en mi vida he tenido
ni quiera Dios que la tenga

El Quino

As in the case of Pinea, Antonio Mairena provided the only reference to attribute this style to this singer. According to Luis and Ramón Soler, some aficionados state that this soleá can be attributed directly to El Fillo. Although we know practically nothing about El Quino, the fact that his soleá was not recorded until the 1950s leads us to suspect that he was born toward the end of the 19th century. This style shares with El Portugués 1, Paquirri 2 and Paquirri 3 the repeated use of the descending melodic line from tonic to tonic, and is also similar to Paquirri 4 in its breakneck delivery and arrangement of lines of verse, but the melodic descent in Paquirri 4 starts at the fifth degree.

Antonio Mairena (1958). With Paco Aguilera. Capo at sixth fret por arriba (key of B flat).
(No) niego que te he querido
pero en el alma me pesa
y el haberte conocido
compañerita de mi alma
y el haberte conocido

Perrate (1962). With Eduardo el de La Malena. Capo at third fret por arriba (key of G).
Quiero que a nadie quieras
quiero que a nadie quieras
yo te tengo destinada
que seas mi compañera
mi compañerita de mi alma
que seas mi compañera

Noriega

We know very little about this Triana-based singer, but we can estimate that he was born in the 1880s. The singer Manolo Oliver stated that Noriega was a Gypsy follower of the Cagancho school of siguiriyas. As in the cases of Pinea and El Quino, Antonio Mairena provided the only reference to associate this style with this singer. This style is nearly identical to that of Juan Talega, which is sung a bit more quickly and linking the first lines of verse. The melody in the first line is shared with the styles of Manuel Cagancho 1, Joselero and, to a lesser extent, Juaniquí 3.

Antonio Mairena (1974). With Paco de Lucía. Capo at sixth fret por arriba (key of B flat).
Si el mundo tuviera asas
yo con una mano nada más
con una mano nada más
con una manita nada más
me atrevería yo a levantarlo
por no perder tu amistad
me atrevería a levantarlo
por no perder tu amistad

Pepe el de La Matrona 2

Style 1 attributed to this singer corresponds to Cádiz. This soleá is similar to Manuel Cagancho 2, Antonio Mairena 2 and Joaquín el de La Paula 2.

Matrona (1969). With Manolo El Sevillano. Without capo por arriba (key of E).
(Para) que tanto llover
(para) que tanto llover
si a mí me duelen los brazos
de sembrar y no coger

El Sordillo 2 (del Zurraque)

This style combines features of El Portugués 1 in the first sung lines and Ramón El Ollero in the conclusion. Notice the characteristic melody in the second half of the cante.

Márquez El Zapatero (1982). With José Luis Postigo. Capo at third fret por arriba (key of G). The first sung line does not include the diatonic ascent heard in the third sung line.
Ay ¿Quién te ha hablado mal de mí
viviendo tú de mí tan lejos?
viviendo de mí tan lejos
viviendo tú de mí tan lejos
malhaya quién lleva y trae
ay que da tan malos consejos

Márquez El Zapatero (1982). With José Luis Postigo. Capo at third fret por arriba (key of G).
Ay yo le pregunté a mi madre
por qué he nacido en el martes
por qué he nacido en el martes
ay por qué he nacido en el martes
si yo no como ni bebo
ay con los buenos días de nadie

Charamusco

José Loreto Romero was born in Jerez in 1903 and died in 1970. There was quite a bit of initial controversy over the attribution of this style, although it is now generally known as the soleá of Charamusco. Apparently, both Marchena and Mairena learned this soleá from José Loreto and Tío Parrilla in Jerez. Antonio El Morao stated that Charamusco learned it from Tío Parrilla's father Juanichi El Manijero who, in turn, learned it from Frijones. However, the Solers point out that certain similarities shared by this style, Paquirri 4 and Triana anonymous 1 suggest that the origins of this soleá may go back even further than Frijones, and the singer and writer Luis Caballero stated that a singer known as El Pancho sang an earlier version of this style.

Pepe Marchena (1963). With Paquito Simón. Without capo por arriba (key of E). The conclusion is different from the versions of Morente and Mairena. The melodies of the fourth and seventh sung lines include a characteristic flourish heard throughout the recording career of this artist. Notice that this version includes the brief vocalization of the style Paquirri 4, heard at the end of the next-to-last line of verse.
Reniego de los rosales
reniego de los rosales
no reniego de la rosa
no reniego de la rosa auy
que me regaló tu madre
reniego de las espinas
de las espinas reniego auy
y pero no de los rosales

Enrique Morente (1977). With Pepe Habichuela. Without capo por arriba (key of E). Morente stated that he learned this soleá through Mairena. Notice the fragmentation of the first line, holding the fourth degree.
Tú vienes
tú vienes vendiendo flores
tú vienes vendiendo flores
ay las mías son amarillas
las tuyas de todos colores
ay las mías son amarillas
las tuyas de todos colores

Antonio Mairena (1983). With Pedro Peña. Capo at seventh fret por medio (key of E). Mairena was apparently the last of these three artists to record this style, although there is a recording of him singing it during an informal gathering in 1976 (the source from which Morente learned this style). In his 1983 disk "El calor de mis recuerdos," Mairena recorded a series of these soleás within a setting of bulería por soleá. Although the sample below is standard four-line verse, Mairena sings six-line verse on the greater part of this track (the conclusion is repeated with an alternative ending). The recording was made just a few months before the artist died at 73 years of age. It should be pointed out that Mairena never actually attributed this style to Charamusco, indicating instead that his version was a recreation.
Charamusco Charamusco
cambiamos nuestros sombreros
tu sombrero estaba roto
y mi sombrero estaba nuevo
tu sombrero estaba roto
y mi sombrero estaba nuevo

Antonio Mairena 2

Style 1 attributed to this artist corresponds to Alcalá and styles 3 and 4 to Jerez. This soleá is similar to Manuel Cagancho 2, Pepe el de La Matrona 2 y Joaquín el de La Paula 2.

Antonio Mairena (1966). With Melchor. Capo at fifth fret por arriba (key of A). This three-line verse repeats the first line of verse.
(El) querer no facilita
ay el querer no facilita
el querer es un valiente
que todito el miedo lo quita
el querer es un valiente
y que todito el miedo lo quita

Antonio Mairena (1973). With Melchor. Capo at fifth fret por arriba (key of A). Using four-line verse, the repetition of the first line is not necessary.
A santa Justa y Rufina
de rodillas le pedí
que tú me cameles tanto
como yo te quiero a ti
que tú a mí me cameles tanto
como yo te quiero a ti

Antonio Ballesteros (del Zurraque)

Antonio Cosme Baeza was born in 1911 and died in 1974. The singer and writer Luis Caballero stated that this style can be attributed to the Triana singer Antonio Ballesteros. The first two sung lines are similar to those of the style Enrique El Mellizo 3.

Manolo Oliver (1977). With Antonio Sousa. Capo at third fret por arriba (key of G).
Yo a ti no ti pido nada
que yo a ti no te pido nada
yo quiero que vengas a verme ay
de tu propia voluntad
yo estoy malito en mi cama ay
yo a ti no te pido nada

Triana anonymous 1 (apolá)

This soleá starts with a melody that can also be found at the beginning of the styles Silverio 2 and José Lorente. In this anonymous style, the melody climbs to the fourth degree with the vocalization at the end of the first line and falls to the tonic in the next line. The conclusion is sung in a descent between these two extremes.

Tenazas (1922). With El Hijo de Salvador. Capo at eighth fret por medio (key of F).
Correo de Vélez ay ayyy
como el correo de Vélez
correo de Vélez ay ayyy
como el correo de Vélez
se atrancaron las mulillas
se me perdieron los papeles
se atrancaron las mulillas
se me perdieron los papeles

Fosforito (196?). With Paco de Lucía. Capo at sixth fret por medio (key of D sharp).
Tu misma conciencia ayyy
quien sentencia tu condena
tu misma conciencia ayyy
quien sentencia tu condena
que has hecho cosas muy malas
y nunca ninguna buena
que has hecho cositas muy malas
y nunca ninguna buena

Triana anonymous 2

With its melodic rise and fall in the first line of verse, this style may be the origin of Frijones 3.

Rafael El Moreno (189?). Unknown guitarist. Due to the poor audio quality, it is impossible to determine the key or capo position.
De rodillas me hinqué
de rodillas me hinqué
(..............................)
porque (¿me camelas bien?)
(..............................)
y de rodillas me hinqué

Escacena (1908). With Román García. Capo at first fret por medio (key of B flat).
Que venga el alba de veras
que venga el alba de veras
a ver si viniendo el alba
se alivia mi compañera
a ver si viniendo el alba
se alivia mi compañera

Triana anonymous 3

This style also makes repeated use of a melodic descent from tonic to tonic, heard in the first verse and conclusion.

Revuelta (1907). With Román García. Capo at fifth fret por arriba (key of A).
Me daba alegría al verte
me daba alegría al verte
ahora se me da lo mismo aaay
el verte como no verte
ahora se me da lo mismo aaay
el verte como no verte

Triana anonymous 5

The first sung line is similar to that of Silverio 2 and the second sung line is similar to that of Ramón El Ollero.

Antonio Mairena (1959). With Manuel Morao. Capo at fourth fret por arriba (key of G sharp).
Compañera de mi alma
que yo le quise cambiar y no quiso
le quise cambiar y no quiso
que yo le quise cambiar y no quiso
su pañuelo de lunares
y por otro de fondo liso
compañera de mi alma
que yo le quise cambiar y no quiso

José Menese (1965). With Melchor. Capo at fourth fret por arriba (key of G sharp).
Ando y desando tu calle
amparado en la oscuridad
amparado en la oscuridad
que amparadito en la oscuridad
sin verte y llevo a la espalda
ojos de la vecindad
ando y desando tu calle
amparado en la oscuridad

Soleares of Utrera

Of the six soleás of Utrera, five are attributed to La Serneta and one to Juan Breva. Some of the soleás of La Serneta seem to have served as the inspiration for subsequent recreations.

La Serneta 1

Styles four and seven of this singer correspond to Triana. María de las Mercedes Fernández Vargas " La Serneta" was born in Jerez in 1840 and died in Utrera in 1912. This soleá was recorded many times in the first decades of the 20th century but has become less popular over the years. It may have evolved from La Serneta 2. This style is sung with four-line verse, normally at the beginning of a series of soleás. The first line uses a melody similar to that of Joaquín el de La Paula 1 but normally ends with an "ay" and a pause, isolating it from the rest. The second sung line repeats the first line of verse and is linked to the second line, which reaches a high note not found in the style of Joaquín. The conclusion is similar to that of Enrique El Mellizo 1. This vocalization between lines of verse is characteristic of La Serneta. Pastora recorded a brilliant version of this style with the verse "Fui piedra y perdí mi centro."

Chacón (1909). With Juan Gandullas. Capo at third fret por medio (key of C).
Con mirarte solamente ay
con mirarte solamente
conocerás que te quiero
ay y también conocerás
ay que quiero hablarte y no puedo
ay y también conocerás
ay que quiero hablarte y no puedo

Manuel Torre (1922). With El Hijo de Salvador. Capo at sixth fret por arriba (key of B flat). Torre's version does not isolate and repeat the first line as seems to be the most frequently recorded arrangement of this style. Pastora and a few others also recorded this shortened variation.
Tan solamente a la tierra
le cuento lo que me pasa
porque no encuentro en el mundo
ay persona de confianza
porque no encuentro en el mundo
ay persona de confianza

Tomás (1950). With Melchor. Capo at sixth fret por arriba (key of B flat).
Tengo el gusto tan colmado ay
tengo el gusto tan colmado
cuando te tengo a mi vera
y que si me dieran la muerte ay
creo que no la sintiera

La Serneta 2

By 1921, this style had been recorded 15 times, and has since fallen into oblivion. Luis and Ramón Soler suggest that this style may have evolved into La Serneta 1. There are several similarities between this style and Enrique El Mellizo 1. The first half of both styles is sung over a similar register (between the tonic and the sixth degree), but the melodies are slightly different. This difference is also present in the conclusion, although the melodies are more similar.

Niño de Cabra (1907). With Enrique López. Capo at fourth fret por medio (key of C sharp). This version begins with a diatonic ascent to the sixth degree, and the conclusion only reaches the fifth degree.
Males que acarrea al tiempo
ay quien pudiera penetrarlos
males que acarrea al tiempo
ay quien pudiera penetrarlos
para ponerles remedio
ay y antes que viniera el daño
y que le pondría remedio
ay y antes que viniera el daño

Pastora (1910). With Ramón Montoya. Without capo por arriba (guitar tuned to E flat).
(Un) día era yo
la alegría de mi casa
un día era yo
la alegría de mi casa
y ahora no me pueden ni ver ay
porque he caído en desgracia
y ahora no me pueden ni ver ay
porque he caído en desgracia

Pastora (1910). With Ramón Montoya. Without capo por arriba (actual pitch between E flat and E).
(Cas)tillitos grandes he visto yo
abatidos por la tierra
castillos he visto yo
abatidos por la tierra
nadie fantasías gaste ay
que da el mundo muchas vueltas
que castillos grandes he visto ay
abatidos por la tierra

Pepe el de La Matrona (1914). With Gaspar. Capo at fourth fret por medio (key of C sharp). Notice that the guitarist plays in a simple 3/4 rhythm.
Castillos he visto yo
abatidos por la tierra
castillitos he visto yo
abatidos por la tierra
nadie gaste fantasías
que da el mundo muchas vueltas
nadie fantasías gaste
que da el mundo muchas vueltas

La Serneta 3

Some authors have attributed this style to Ramón El Ollero. This soleá has not been recorded on many occasions. A large part of its peculiar flavor comes from the contrast in the melody of the third sung line between the third scale degree (the high note) and the sharped second degree. Juan Talega used a similar half-tone contrast in his versions of Joaquín el de La Paula 2. The conclusion of this style, especially in the version of Tomás, is very similar to that of José Yllanda 2. Another interesting characteristic of this style is its similarity to the bulería corta of Jerez, as heard in the versions sung in the style of bulerías por soleá.

Chacón (1913). With Ramón Montoya. Capo at fifth fret por medio (key of D). The sharped second degree is briefly heard at the end of the fifth sung line ("el (cristal)").
Me lo murmuran contigo
me lo murmuran contigo
sale el sol y da en el cristal
ay pero no quebranta el vidrio
sale el sol y da en el cristal
ay pero no quebranta el vidrio

Manuel Torre (1922). With El Hijo de Salvador. Capo at sixth fret por arriba (key of B flat). The sharped second degree is heard in the second sung line ("no" and "le(y)").
Que te den los sacramentos
porque no le tienes ley
ni a la camisa del cuerpo
ven acá mala serrana
que te den los sacramentos

Manuel Torre (1922). With El Hijo de Salvador. Capo at sixth fret por arriba (key of B flat). The sharped second degree is heard in the third ("a(y)") and fifth ("(delan)te" and "cru(cifijo)") sung lines.
Yo dije que me echaría
dije yo que me echaría
ay hábito de San Antonio
si esta mujer me quería
delante de un crucifijo
yo dije que me echaría

Tomás (1950). With Melchor. Capo at sixth fret por arriba (key of B flat). The sharped second degree is very briefly heard in the third sung line, at the end of "(teng)o." Tomás reaches the fourth degree in the conclusion of this version ("(qu)e", in the third sung line).
Yo nunca a mi ley falté
nunca de mi ley falté
que te tengo tan presente
como la primera vez

La Serneta 5

The first line of verse is normally repeated, and the conclusión is sung with a characteristic lilting quality. The melody in the first sung lines is similar to that of Joaquín el de La Paula 4, which may be a recreation of this style.

Chacón (1913). With Ramón Montoya. Capo at fifth fret por medio (key of D).
Ella misma confesó
sangre lloran mis ojitos
por desgraciados que son
los consejos que me (habían dado?)
que llamen al confesor

Fernanda (1959). With Paco Aguilera. Capo at fourth fret por medio (key of C sharp).
(Si)endo que soy tuya
siendo que soy tuya
¿Qué cadenita me has echado?
que me tienes tú tan segura

Antonio Mairena (1972). With Melchor. Capo at second fret por medio (key of B).
(Al) servir al rey y me voy
(al) servir (al) rey y me voy
y el viento que da en tu puerta
que son los suspiritos que doy

La Serneta 6

This dramatic style is normally used for ending a series of soleás. It is the least recorded of all the styles attributed to La Serneta. The melody makes use of the seventh scale degree, as in other "closing" styles such as Joaquín el de La Paula 3 and Enrique El Mellizo 2. This style is very similar to the bulería por soleá attributed to Sordo La Luz.

Juan Breva

Antonio Ortega Escalona was born in Vélez-Málaga in 1844 or 1846 and died in 1918.

My sincere thanks to the following for their contributions to this project:
Ramón Soler Díaz, Prudencio Benítez Moscoso, Jesús Iglesias del Castillo, Guillermo Morán Dauchez, Chet Creider, Daniel Staffler and Luis Martín Álvarez