When the drinks are finished and there’s a stillness in the air when sun is on the verge of rising, play the Soleá. A Soleá may include the escobilla section, where the beat shifts to a feeling of three ( 1,2,3, 4,5,6, 7,8,9, 10,11,12).Īfter a long night of dancing and singing lively toques, the Soleá may be played as a melancholy conclusion. Harmonic tension between the E major and F major chords is prevalent in the Soleá form, causing both harmonic and tension and resolve throughout a performance. The compás for the Soleá is as follows: Soleá Compás Flamenco guitarists usually begin their study with the Soleá since it has a relatively slow BPM (usually 50-110BPM), and thus students have ample time to feel and get accustomed to the compás accents. The Soleá is synonymous with the Soleares, known as the “Mother of Flamenco”. This is also known as the “ Cante Jondo” category.
Tragedy, death, and desperation are the common subject matter for the Soleá cante (singers), feelings that are evoked in the guitar playing as well. They are not women to be exploited rather respected for the passionate depths they represent and exude.The Soleá is a slow, solemn, and majestic flamenco form that likely comes from the Spanish word soledad, meaning solitude or loneliness.
These women figures exude strength, whether its is exhibited in transitional dance movements or in a provocative straightforward look. "The finished works are not in themselves portraits of woman but rather symbolic representations of femininity. Unquestionably these are living people, filled with energy and a real lust for life, even when in repose.” Décor and Style Magazine Yet, they all hold that spark of life that makes the difference in good work. “Like snapshots in time the figures are captured either in contorted positions as they dance or while relaxing as they regain their strength. Praise for his work has come from diverse and numerous sources. Marques Vickers’ works have been exhibited internationally in art galleries, exhibitions and are part of numerous public and private collections. One absorbs the innate mysterious silence imposed by the dancer’s well-executed dance sequence. By lifting and releasing static movement and focusing on transitional position shifts, the transference of energy elevates the soul of the performer and audience. The purpose of Vickers’ works is to express the profound emotion expressed and sensed by the audience during a Flamenco performance. This intensely sad form of cante deals with themes of death, anguish, despair, or religious sentiments and may be sung without guitar accompaniment. Flamenco songs may be categorized into varying divisions but Jondo remains the deepest form. The cante flamenco is part of the musical tradition steeped within the Andalusian region of southern Spain. In truth, the cante is the substance of the genre. Because the dancer is spotlighted in a performance, many assume the dance is the most important aspect of the art form. The cante flamenco translates into flamenco song, and is one of the three components of flamenco, along with toque (playing the guitar) and baile (dance). Forty-eight paintings paired with his short story “Beauty Strolls the Ramblas of Figueras” comprise this stunning edition of visual passion and transitional dance movements.
”Flamenco Jondo” is a fifteen-year synthesis of figurative action paintings by Northern California artist Marques Vickers.