My search of a Solea that reflects the essence of the palo and also expresses my individuality while staying in compas is almost finished. I chose my favorite falsetas (simple ones) from the masters, Ramon Montoya, Mellizo, Pepe Naranjo, Diego del Gastor, Paco del Gastor, Perico del Lunar, Sabicas, and Melchor de Marchena. Once I had most of these down the problem of connecting these falsetas with different phrasing loomed and seemed impossible.

The compas is the same and the key (E) is the same, but connecting some of them directly was too abrupt and gives a feeling of changing rhythm although the compas is still the 12 beat Soleares. I finally have it down to three divisions of multiple falsetas. Two of these I connected by devising the perfect IMO connecting rhythm yesterday, now connecting the fairly standard intro rhythm and falsetas consisting of basic Solea falsetas mostly call and response to the rest of this collection is still eluding me, but I hope to have it resolved by next week. Then after a month or so of practice, I hope to record this mess and post it in our members playing section. Now don't get me wrong, I am not playing like Ramon Montoya, etc., I just picked out some falsetas that I liked and on many falsetas had to simplify them.

Here is where I need your opinions. How many one compas length falsetas would you connect before adding a "rhythm" (chords with various rasqueados)? Do you prefer a long stretch of falsetas or a few short falsetas then some rasqueadoated chords? Also do you like a variety of remates or the same ones repeated? Any other ideas that might help me polish this simplified blending of the masters?

I would think that all depends on the length and structure of the Solea, as you know the ultimate thing to do would be to make your own falsetta(s) based on the Solea as falsettas are variations based on what you are trying to convey with the Solea, and yet using someone elses falsettas is a great thing to do, you just have to use your own judgment and use whatever works by unifying the piece that you are going to play so it's not just a collection of seperate pieces, say a collection of falsettas and then a Solea, with nothing in common. And those efforts are two compleately different in process. They are equally valid and part of musical composition discipline.

Paying tribute to the Masters is a great thing to do, it's just that unifying it in the way or ways that you can understand is difficult, and you have a lot of work to do. You must work within the scope of the project with the tools that you have. Sketching out the project with staves can be a godsend, so you don't forget your process and what it is that you are trying to convey, and here's where writing notes can be a valuable process along with the use of a simple tape recorder.

What you get in the end is totally up to how you go about the process, that is that recording blind could make the process that much harder. I haven't heard what you have so I don't really know what to tell you other than that. But I do know that if you make variations or falsettas based on the Solea it's different than making a Solea based on a string or strings of falsettas, that is where you must decide to play the falsettas your way or by the way of the masters no matter what you will do with the elements of the piece, and if you are simplifying the falsettas you're already doing that, so there is an element of grey matter about your project no matter what you decide, respectfully. Remember it is your piece, so do what is a tribute as it is yet in your own way and you should have the creative output and originality which is your tribute and not someone else's... that is, don't walk on egg shells because you can always revise the piece or make another later.
Gary

Thanks Gary and your thought are similar to mine. A few of the falsetas are mine as far as I know. I have worked on about 100 Soleares falsetas and come up with my variation on some of them. My goal is to be able to play about a 3 minute Solea that has a different old school sound and expresses the palo's history appropriately on stays on compas. I want to have an idea on how I will put it together, but play it with what ever comes to mind. In other words for each falseta I will have several variations in mind and let my fingers subconsciously decide what to play. I may record several different Soleas and pick the one that I like best for posting. I need to find another recording program. I have Blaze audio and it has an inherent background noise that I can't get rid of. Recording is at least a month away, so I will not worry about that now. Thanks for replying and your thoughts.

You have your own falsettas, great! That will help to unify the tribute falsettas, so that they work together, and you have more that you can do than jam falsettas together.......that are already made that is........
Gary

Well it is all coming together great. Now I am waiting for my thumb nail to grow as it broke way back a few days ago. It is the most important nail for my style of playing. One important falseta to my eclectic collection requires the thumb upstoke and it is impossible to get much sound without it. Also it doesn't look like I will get anything recorded before the bone scan in a couple of days for the large bone tumor in my shoulder. I am becoming more in tune with the old gypsy Moron de la Frontera way of life everyday. I have to live for the day a get all the enjoyment out of it I can. Well I had my tapa of kippered Herring with homegrown tomatoes for lunch, so back to practicing.

hope you will be well, sam! can't wait to hear this tribute solea! what an interesting idea!