Bernarda de Utrera
(Photo: Javier Hurtado)
Eva Yerbabuena
(Photo: Daniel Muñoz)
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A flamenco form considered the mother of all flamenco.
Its structure, with a 12-count compás, follows a
blend of 6/8 and 3/4 time signatures, using an Andalusian
cadence - the Phrygian mode unique to flamenco. Fruit of
this basic model include bulerías,
bulerías por soleá, alegrías,
all of the cantiñas, jaleos, the caña,
the polo... hence its well-deserved status as an essential
style of flamenco cante. Academics highlight the abundant
richness of the lyrics, its diversity, its fertility, over
and above all other flamenco styles. As for its origins,
Machado Álvarez argues that it evolved from the music
used to accompany a dance style called jaleo, which it broke
away from in the mid-19th century. As for its name, musicologist
García Matos postulates that it may have been taken
from one of the early lyrics of these songs, referring to
'la soledad' (loneliness). There are several variations
of true soleares, including those from Alcalá de
Guadaira, Lebrija, Utrera, Triana, Cadiz, Los Puertos and
Jerez. Legendary figures whose names are associated with
the soleá include nineteenth century cantaora La
Andonda, from Triana, and in the 20th century cantaora La
Serneta from Utrera, of whom Fernanda and Bernarda de
Utrera are both devout followers; cantaor Frijones, from
Jerez, El Mellizo from Cadiz, Juaniqui from Lebrija, Joaquín
el de la Paula from Alcalá de Guadaira... each
with their own approach, and each leaving a band of disciples
in their wake. As for dance, the soleá is also an
indispensable style. Initially reserved for female bailaoras,
La Cuenca and La Mejorana were known as originators in this
form. This genre is largely unchanged today, with greater
or lesser emphasis on the footwork of the 'zapateado' depending
on the performer. El Güito, Manuela Carrasco and, recently,
Eva
Yerbabuena are some of the bailaoras who have made this
type of dance their trademark.
Compás pattern:
1 2 3 4 5 6
7 8 9 10
11 12 / 1 2 3
4 5 6 7 8 9 10 11 12 |
Sample verse:
Dicen que no vales ná
Cuando a mi vera te tengo
Vales tú un gran caudal |
They say you're worthless
When I have you beside me
You are worth a fortune |
Guide to palos
Back to index:
fandangos, soleá, seguiriya, tangos, de ida y
vuelta, cantes de Levante... |
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