With a bit of Nino Ricardo and Sabicas
Flamencoblues

Hola:

Thank you for sharing this Soleá, it is good to hear those tradtional falsetas again..I have not heard them in a long time.
I have a question for you:
I see that you have the very traditional right hand position. Have you tried any other right hand positions? Do you find that the traditional hand position gives a particular tone or would you still get the same tone regardless of how you hold you hand.
Saludos
Tomás

PS: I am very jealous of your telephone!!!!

FB, I enjoy the speed of your Solea. I have a tendency to play faster than normal when I record and listening back I think sometimes the Solea loses feeling if played to fast. Yes, I remember the classic Sabicas falsetas and how beautiful and expressive they are. You played them nicely. Do you also play classical? As Tomas mentioned your right hand position is very traditional and would find approval even from a discriminating classical master. I love the flow of your Solea played in this style. Here are my favorite Solea falsetas, the first attributed to Pepe Naranjo and the second to Mellizo. As usual I have my own phrasing and interpretation of them. Hope some others will add recordings of their Solea to this post.
Naranjo.mp3

Mellizo.mp3

Tomas and Sam,
Thanks for your comments.

Tomas,
I am not sure I understand your question. What would be a non-traditional hand position? Since I am essentially self-taught, my hand position is largely intuitive. I do not attempt to modulate sound by moving the hand around, for example.
PS. No need to be jealous of the phone. It's a fake- Haven't seen a real rotary dial in a couple of decades.

Sam,
I like the falsetas, and they sound nice at the tempo you play them. Tempo is a tricky issue. Many falsetas seem to have an optimal speed. As was common at the time, Nino Ricardo played solea pretty fast, which sounds great for his style full of tremolos and arpeggios. In fact, when I played his tremolo falseta, it felt a bit too slow, and I had to resist speeding up. Sabicas, of course, used tempo changes and accelerations to great effect in "Bronce gitano".

I haven't played classical in years and am quite incapable of learning a tune exclusively from a piece of paper. But occasional I play "Jeux interdits" to warm up.

Saludos
Flamencoblues

Hola Amigo
I am not sure I know what I mean about the hand position!!!!
I think I have some memory of when I started as a child that one was taught to bend the wrist to an angle for the right hand and it felt quite bad but it was a specific idea for flamenco position.
Then with the modern generation of players the hand position seems not so bent at the wrist.
I imagine that your way must be best. You simply do what is right for you.
Maybe I listen to too many questions from my students.
I like your sound by the way which is why I think I asked.
Saludos

Tomás

Tomas,
Thank you, I greatly appreciate your compliment. Also, I see now what you mean with traditional hand position, and I think you raise a very important point. When I learned to play initially, I wondered: How can I sit reasonably comfortable (that is not in pain from wrist or shoulder strain), not having to pick up my guitar from the floor approximately every 2 min and still focus on actually doing something vaguely reminiscent of music. I very quickly learned that my anatomic proportions (considerably taller than Sabicas, with extra long arms) were utterly incompatible with the traditional flamenco posture of holding the guitar with your right upper arm, because I would have needed to bend my wrist well beyond the crack point to get my fingers on the strings behind the sound hole. With the Paco position (crossed legs) I can balance the weight of the guitar, rest my arm on the guitar and play arpeggios, tremolos, and thumb techniques without straining my wrist (although hip and groin is another problem). However, it took me quite some time to understand that for certain techniques (some rasguedos and especially vertical picados) I needed to adjust. For example, I always struggled with my picado on the bass strings. First seeing a video of Paco was a revelation. (As you know of course) he lifts his arm to create a straight line from elbow to fingers and smoothly moves his arm up while moving his fingers from treble to bass, fixing the angle of his fingers to the strings by leaning his thumb against the wood. I am certain these high-precision robotics are part of the secret to his control, speed and sound. Trying to imitate this technique in my dilettante ways (and if I don't forget) improved my picado and relieved me of any wrist pain.
Saludos
Flamencoblues