Style recipe for Suno v5

Soleares

Flamenco soleares from the 1950s: flamenco guitar, palmas claps, cajon, melancholic and theatrical in feel. A name-free Suno recipe that reproduces the signature sound without tripping the artist-name filter.

History

Soleares, the plural of soleá, is one of the bedrock forms, or palos, of flamenco, probably born among the Calé Romani of Cádiz or Seville. The first known written mention, as soledades, comes from the poet Gustavo Adolfo Bécquer in 1862, and in 1879 the folklorist Demófilo traced it to the coplas de jaleo, a lively festive song, which hardly fits its later title of solemn mother of all palos. Siguiriyas is in fact older. The sound rests on a 12-beat compás made of groups of three and two with the strong beats at the end of each group, and on a single guitar in altered Phrygian mode that keeps returning to the Am, G, F, E cadence. Singers combine stanzas of three or four lines, use melisma and microtones inside a range rarely wider than a fifth, and often close a series with a fast verse in the major. The golden age came in the last quarter of the 19th century, in the café cantante era, before malagueñas, tarantas and then fandangos took over. Solo guitarists favour it: Ramón Montoya, Sabicas and Paco de Lucía all shone in it, and alegrías and bulerías por soleá borrowed its compás.

The recipe

Flamenco soleares, 1950s, melancholic, t…

Count them: 38 tags, 683 characters, straight from the 1950s at 60–90 BPM.

Artists in this style

• Antonio Mairena
• Fernanda de Utrera
• Manuel Agujetas

Similar styles

• Flamenco Puro1960s · 90–130 BPM
• Flamenco1950s · 58–78 BPM
• Fandango1960s · 90–120 BPM
• Fado de Lisboa1950s · 60–85 BPM
• Mbube1950s · 70–100 BPM
• Son Cubano1950s · 90–120 BPM
• Palm-Wine Highlife1950s · 90–110 BPM
• Gagok1950s · 40–65 BPM