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	<title>Flamenco guitar &#187; Soleá</title>
	<atom:link href="http://miguelbengoa.com/tag/solea/feed/" rel="self" type="application/rss+xml" />
	<link>http://miguelbengoa.com</link>
	<description>Retraining and relearning to play guitar</description>
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	<copyright>Copyright &#xA9; Flamenco guitar 2011 </copyright>
	<managingEditor>mabengoetxea@gmail.com (Flamenco guitar)</managingEditor>
	<webMaster>mabengoetxea@gmail.com (Flamenco guitar)</webMaster>
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		<title>Flamenco guitar</title>
		<link>http://miguelbengoa.com</link>
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	<itunes:summary>Just another WordPress site</itunes:summary>
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	<itunes:category text="Society &#38; Culture" />
	<itunes:author>Flamenco guitar</itunes:author>
	<itunes:owner>
		<itunes:name>Flamenco guitar</itunes:name>
		<itunes:email>mabengoetxea@gmail.com</itunes:email>
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		<item>
		<title>Soleares</title>
		<link>http://miguelbengoa.com/uncategorized/solea/</link>
		<comments>http://miguelbengoa.com/uncategorized/solea/#comments</comments>
		<pubDate>Thu, 03 Jun 2010 07:40:13 +0000</pubDate>
		<dc:creator>miguel</dc:creator>
				<category><![CDATA[Alcalá]]></category>
		<category><![CDATA[Andonda]]></category>
		<category><![CDATA[Angel Alvarez Caballero]]></category>
		<category><![CDATA[antonio machado]]></category>
		<category><![CDATA[Cádiz]]></category>
		<category><![CDATA[cante]]></category>
		<category><![CDATA[Jerez]]></category>
		<category><![CDATA[Jerez de la Frontera]]></category>
		<category><![CDATA[La Andona]]></category>
		<category><![CDATA[origins]]></category>
		<category><![CDATA[Soleá]]></category>
		<category><![CDATA[triana]]></category>
		<category><![CDATA[Utrera]]></category>

		<guid isPermaLink="false">http://miguelbengoa.com/?p=450</guid>
		<description><![CDATA[The soleá or soleares is often referred to as the &#8220;mother of flamenco&#8221;. Although not strictly true from a historical point of view, the soleá does form the basis from which many other palos have developed. Without the soleá, forms such as alegría and bulería would not have come into existence &#8211; all share the [...]]]></description>
		<wfw:commentRss>http://miguelbengoa.com/uncategorized/solea/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>elementary &#8211; soleá 3</title>
		<link>http://miguelbengoa.com/practice/elementary-solea-3/</link>
		<comments>http://miguelbengoa.com/practice/elementary-solea-3/#comments</comments>
		<pubDate>Sun, 06 Jan 2008 12:31:07 +0000</pubDate>
		<dc:creator>miguel</dc:creator>
				<category><![CDATA[Compás]]></category>
		<category><![CDATA[Practice]]></category>
		<category><![CDATA[Rasgueado]]></category>
		<category><![CDATA[Soleá]]></category>
		<category><![CDATA[classes]]></category>
		<category><![CDATA[Techniques]]></category>
		<category><![CDATA[thumb]]></category>

		<guid isPermaLink="false">http://miguelbengoa.com/wordpress/2008/01/06/elementary-solea-3/</guid>
		<description><![CDATA[Here is the final installment of our soleá. There are four rasgueado exercises that form the basic soleá rasgueados. More details about these are given in the newly updated rasgueado page.You can download the pdf here: 
At the top of the page I have shown some simple chords that are most often used for this [...]]]></description>
		<wfw:commentRss>http://miguelbengoa.com/practice/elementary-solea-3/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>elementary &#8211; soleá 2</title>
		<link>http://miguelbengoa.com/toques/compas/elementary-solea-2/</link>
		<comments>http://miguelbengoa.com/toques/compas/elementary-solea-2/#comments</comments>
		<pubDate>Sun, 16 Dec 2007 10:37:06 +0000</pubDate>
		<dc:creator>miguel</dc:creator>
				<category><![CDATA[Compás]]></category>
		<category><![CDATA[Soleá]]></category>
		<category><![CDATA[apoyando]]></category>
		<category><![CDATA[classes]]></category>
		<category><![CDATA[thumb]]></category>

		<guid isPermaLink="false">http://miguelbengoa.com/wordpress/2007/12/16/elementary-solea-2/</guid>
		<description><![CDATA[Here is our second installment of soleá. Another fundamental part of the guitarists&#8217; repetoire. The cierre (cadence or closure) is from Manuel Granados &#8211; more about this incredible man in later posts. The thumb plays apoyando throughout. Watch that you keep that compás steady. There is a great temptation to accelerate. Practice with a metronome.
If [...]]]></description>
		<wfw:commentRss>http://miguelbengoa.com/toques/compas/elementary-solea-2/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>elementary &#8211; soleá 1</title>
		<link>http://miguelbengoa.com/toques/compas/elementary-solea/</link>
		<comments>http://miguelbengoa.com/toques/compas/elementary-solea/#comments</comments>
		<pubDate>Sun, 16 Dec 2007 10:04:26 +0000</pubDate>
		<dc:creator>miguel</dc:creator>
				<category><![CDATA[Compás]]></category>
		<category><![CDATA[Soleá]]></category>
		<category><![CDATA[apoyando]]></category>
		<category><![CDATA[classes]]></category>
		<category><![CDATA[thumb]]></category>
		<category><![CDATA[tirando]]></category>

		<guid isPermaLink="false">http://miguelbengoa.com/wordpress/2007/12/16/elementary-solea/</guid>
		<description><![CDATA[This lesson introduces the soleá with the most simple of melodies. This melody, played only with the thumb is a fundamental part of the guitar repertoire. Although easy to play there are some important things to consider.

Keep in compás. Every note should sound with identical volume, except those that you accentuate as part of the [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<itunes:subtitle>This lesson introduces the soleá with the most simple of melodies. This melody, played only with the thumb is a fundamental part of the guitar repertoire. Although easy to play there are some important things to consider.

Keep in compás. Every note[...]</itunes:subtitle>
		<itunes:summary>This lesson introduces the soleá with the most simple of melodies. This melody, played only with the thumb is a fundamental part of the guitar repertoire. Although easy to play there are some important things to consider.

Keep in compás. Every note should sound with identical volume, except those that you accentuate as part of the compás.
When playing the bass notes, your thumb should always play rest strokes, that is, come to rest on the next string after playing the one above. Accentuating notes is not a case of hitting a string harder from a distance but pushing it further in towards the sound board.
You will need to play this first measure dead slow, so that you can manage the final one with ease.

The second measure introduces thumb and index finger alternation. The thumb continues to play apoyando, but the index finger will need to play tirando.
The third measure introduces our first arpeggio. Again, do not discriminate: allow every note to sound for its full value. If you allow some notes to sound for a longer time, and the others are &#8220;crushed&#8221; together you will not be practicing the arpeggio properly. Record your playing and be your own fiercest critic. Don&#8217;t be too ambitious.
The final measure is a further variation of the same theme. This time on beat three and beat six, the thumb plays a chord with a golpe. When you reach this measure, the question I ask myself is: &#8220;have I maintained exactly the same tempo and volume throughout?&#8221; and &#8220;has every note been allowed to sound as it should?&#8221;. &#8220;Am I in complete control of the music?&#8221;
The tablature: </itunes:summary>
		<itunes:keywords>Compás, Soleá</itunes:keywords>
		<itunes:author>mabengoetxea@gmail.com</itunes:author>
		<itunes:explicit>no</itunes:explicit>
		<itunes:block>no</itunes:block>
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		<item>
		<title>elementary &#8211; rhythmic structures of the main palos</title>
		<link>http://miguelbengoa.com/practice/elementary-rhythmic-structures-of-the-main-palos-flamenco-forms/</link>
		<comments>http://miguelbengoa.com/practice/elementary-rhythmic-structures-of-the-main-palos-flamenco-forms/#comments</comments>
		<pubDate>Sat, 15 Dec 2007 08:41:17 +0000</pubDate>
		<dc:creator>miguel</dc:creator>
				<category><![CDATA[Alegría]]></category>
		<category><![CDATA[Bulería]]></category>
		<category><![CDATA[Compás]]></category>
		<category><![CDATA[Practice]]></category>
		<category><![CDATA[Soleá]]></category>
		<category><![CDATA[Tangos]]></category>
		<category><![CDATA[Tientos]]></category>
		<category><![CDATA[classes]]></category>

		<guid isPermaLink="false">http://miguelbengoa.com/wordpress/2007/12/15/elementary-rhythmic-structures-of-the-main-palos-flamenco-forms/</guid>
		<description><![CDATA[How can you start learning the rhythmic forms of flamenco?
Start counting. Count the beats out loud, or in your head. Do it in any language you like, the idea is to start to develop a feel for the accents sub-consciously. It will help if you tap your foot, click your fingers or tap your knuckles [...]]]></description>
		<wfw:commentRss>http://miguelbengoa.com/practice/elementary-rhythmic-structures-of-the-main-palos-flamenco-forms/feed/</wfw:commentRss>
		<slash:comments>4</slash:comments>
		</item>
		<item>
		<title>Exercise for soleá for alzapúa and arpeggios.</title>
		<link>http://miguelbengoa.com/flamenco-guitar-techniques/alzapua/exercise-for-solea-for-alzapua-and-arpeggios/</link>
		<comments>http://miguelbengoa.com/flamenco-guitar-techniques/alzapua/exercise-for-solea-for-alzapua-and-arpeggios/#comments</comments>
		<pubDate>Tue, 24 Apr 2007 14:47:09 +0000</pubDate>
		<dc:creator>miguel</dc:creator>
				<category><![CDATA[Alzapúa]]></category>
		<category><![CDATA[Compás]]></category>
		<category><![CDATA[Soleá]]></category>
		<category><![CDATA[arpeggíos]]></category>
		<category><![CDATA[tablature]]></category>
		<category><![CDATA[thumb]]></category>

		<guid isPermaLink="false">http://miguelbengoa.com/wordpress/2007/04/24/exercise-for-solea-for-alzapua-and-arpeggios/</guid>
		<description><![CDATA[Here it is, after far too long, is some music for you. It is, after all the purpose of the site. Continue reading, using the link below to hear the mp3. This soleá is por medio and the cejilla is on the fourth fret. It is really a technical exercise, but with some very useful [...]]]></description>
		<wfw:commentRss>http://miguelbengoa.com/flamenco-guitar-techniques/alzapua/exercise-for-solea-for-alzapua-and-arpeggios/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The academy of flamenco guitar</title>
		<link>http://miguelbengoa.com/uncategorized/the-academy-of-flamenco-guitar/</link>
		<comments>http://miguelbengoa.com/uncategorized/the-academy-of-flamenco-guitar/#comments</comments>
		<pubDate>Wed, 17 Jan 2007 15:45:34 +0000</pubDate>
		<dc:creator>miguel</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[falseta]]></category>
		<category><![CDATA[Soleá]]></category>

		<guid isPermaLink="false">http://miguelbengoa.com/wordpress/?p=49</guid>
		<description><![CDATA[Yesterday I came across a large web site managed by Chuck Keyser, based in Santa Barbara, USA, and I was most impressed.
Here you can find very useful information for those starting out with flamenco, the table of contents includes:
Flamenco guitar
Falseta collections
CompÃ¡s analysis: solea, bulerí­a, alegría and siguiriya, amongst other things.
There are approximately twenty falsetas for [...]]]></description>
		<wfw:commentRss>http://miguelbengoa.com/uncategorized/the-academy-of-flamenco-guitar/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Soleá por medio</title>
		<link>http://miguelbengoa.com/toques/solea/solea-por-medio/</link>
		<comments>http://miguelbengoa.com/toques/solea/solea-por-medio/#comments</comments>
		<pubDate>Sun, 17 Dec 2006 10:10:53 +0000</pubDate>
		<dc:creator>miguel</dc:creator>
				<category><![CDATA[Soleá]]></category>
		<category><![CDATA[arpeggíos]]></category>
		<category><![CDATA[Compás]]></category>
		<category><![CDATA[Techniques]]></category>

		<guid isPermaLink="false">http://miguelbengoa.com/wordpress/?p=29</guid>
		<description><![CDATA[Here is a short recording of the basic compás and falsetas. I have recorded the guitar playing solo, the guitar with percussion and both together. Getting the arpeggios clean and strong requires some work, and there is still some for me to do.
Soleá is often referred to as the mother of flamenco. This is because [...]]]></description>
		<wfw:commentRss>http://miguelbengoa.com/toques/solea/solea-por-medio/feed/</wfw:commentRss>
		<slash:comments>9</slash:comments>
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