from A to D and back at 3-c2.

GE employs another lower/upper neighbor resolution at 3-c3,

whereas TP moves directly into a series of Cs (3-c4), which function as pickups to the material at

letter 3-D.

Letter 3-D: GE and TP both move to C with upper/lower neighbor approach tones (3-

d1). They then fall back to A with relatively elaborate embellishments (3-d2). Again, GE

employs a more rhythmically pronounced upper/lower neighbor resolution to A, whereas TP

only briefly touches the lower-neighbor G#.

Letter 3-E: My transcription of GE splits into two staves for a contrapuntal figure in the

horns that very closely matches the triplet falseta in MdM (a guitar staff which briefly replaces

TP). In both recordings, this figure serves as a launching point into a climactic moment. This is

the strongest point of similarity between the two recordings, and one of the primary reasons for

selecting “Tengo el Gusto” as the most likely flamenco model for “Solea.” I have not found

another performance of soleares from this era of flamenco in which the triplet falseta so clearly

serves as a musical intensifier.

Letters 3-F and 3-F’: Immediately following the figure at rehearsal letter E, both

recordings launch into a climactic phrase starting on G. In TP, this climactic moment lasts for

several phrases; they comprise an entire copla text, including a half-cadence to D (end of phrase

at rehearsal letter 3-F) before falling back to A (3-f3, end of phrase at rehearsal letter 3-F’). GE

presents this climax in summary form, consisting of a single phrase that descends relatively

quickly from G to A. For this reason, GE is aligned with the TP’s second phrase in this section at

3-F’. Letters 3-f1 and 3-f2 emphasize the similarity between two sub-phrases in which GE

reaches up to G, and 3-f3 shows how both ultimately descend to A.

The similarities between GE and TP/MdM are summarized as follows:

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 Letter 3-A: Phrase that rises from to D, falling back to A. Upper and/or lower neighbor

ornamentation of final A.

Letter 3-B: Phrase that begins with lower-neighbor pickup to D before falling back to A.

Letter 3-C: Phrase that rises to D, falls to A, quickly rising back to D before falling to A

again.

Letter 3-D: Upper/lower neighbor pickups into C, ornamented fall back to A.

Letter 3-E: Triplet falseta.

Letters 3-F and 2-F’: Climactic phrase beginning on G and falling back to A.

Overall, these similarities are of a different quality than those presented in Example 2.3

of the “Saeta” chapter. There, Evans often matched La Macarena’s performance note-for-note,

containing allusions to nearly every musical gesture present in La M. In the case of “Solea”

Sequence 3, GE generally presents the melodic skeleton of TP with less concern for matching

each individual gesture. The most significant departure is the rhythmic weight Evans places on

the lower/upper neighbor elaborations of every tonic resolution in rehearsal letters 3-A through

3-D. These differences can be explained as artistic decisions by Evans to make the melody more

idiomatic for a large group of instruments playing unison in a metered context.

Rubato intro

One of the most vexing details I encountered while seeking flamenco parallels to “Solea”

was the opening phrase of Evans’s composition—a simple A major triad, rising from the root to

the fifth, with an upper neighbor F-natural decorating the fifth before falling back to the major

3rd, C#. Such a triadic gesture simply did not exist in any of the numerous soleares I

encountered by artists such as Tomás Pavón, Pastora Pavón, Antonio Mairena, or any other

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