Music: Practice & Theory Stack Exchange is a question and answer site for musicians, students, and enthusiasts. It's 100% free, no registration required.

Sign up
Here's how it works:
  1. Anybody can ask a question
  2. Anybody can answer
  3. The best answers are voted up and rise to the top

I'm just starting to get into flamenco guitar, and I have a question about the proper placement of accents.

I have a teacher and we have started with Soleares, and he says the accent goes on 3, 6, 8, and 10 beats. I have also read in a few places that this is true. HOWEVER, I have also read that there should be an accent on the 12th beat as well. Which is correct, or are they both correct depending on what the player choses?

share|improve this question

Most common appears to be 3, 6, 8, 10 and 12, however I have heard a few that miss out the 12 and it is still recognisably Soleares. I can't find any definitive documentation one way or the other, although Wikipedia includes the 12th beat.

I actually quite like using both forms within the same piece, for different sections.

share|improve this answer

(Let's start by assuming that you are using the common flamenco approach of starting the cycle of 12 beats on "12". This is highly confusing to most trained musicians, but it makes sense if you think of beginning the count on a clock face, which of course starts at the top, on 12).

Keep in mind that there are number of distinct regional styles of Soleares, the Grandmother of the Palos, and I'm just an infant wandering in the great cathedral of flamenco, so I won't try and explain those differences...

But a simple place to start is just to listen - here is Juan Habichuela (accompanying the incredible 20-year old Estrella Morente!) - he is famous in particular for his solid and responsive accompaniment of cante. His introduction is a small masterpiece of clarity, atmosphere and imagination:

While he will lead to a strong 3 with the classic three chord flamenco cadence ("1-2-3" -> G-F-Emaj), He will almost always drop a golpe on 6 and 12, helping the singer keep track of the compas, even when they are singing freely over the cycle of beats. Another "flag" he frequently sends up for the singer is the characteristic Soleares arpeggiation pattern on 10-11-12 that pushes to a strong 12 accent (with golpe).

You teacher is right about 6/8/10 as well - the accents on 6, 8 and 10 serve to divide up the second half of twelve beats into groups of two, a very characteristic flamenco shift in accents. So you could think of the twelve beats as "two-groups-of-three, followed by three-groups-of-two" - (>> > >) (>> > >) (>> >) (>> >) (>> >) - speed that up and you'll start to hear the rhythm of "I Want To Live In America" from "West Side Story"!

But just listening to this roomful of master musicians is an education in itself - Ole!

share|improve this answer

Your Answer


By posting your answer, you agree to the privacy policy and terms of service.

Not the answer you're looking for? Browse other questions tagged or ask your own question.