Soleá — the slow, grave mother of the twelve-count palos. Same compás as bulerías — accents on 12, 3, 6, 8 and 10, grouped 3+3+2+2+2 — but at a third of the speed, so every accent has weight and the unaccented pulses are felt as silence. One bar of 12/8 per compás, counted from 1; the quarter-note tempo 56 is a pulse of about 112.
How it sits: the harmony is the Andalusian cadence por arriba, one chord per half-compás over the two bars: Am – G – F – E, landing on the Phrygian tonic E for the second half of bar 2. The guitar plays thumb bass on 1 and 7, full accented rasgueos on the five accents (held longer on 3 and 6), and light upstrokes on 2 and 5. Palmas (drums layer, claps) mark every pulse with the accents loud; no cajón here — the traditional soleá is guitar, voice and hands.
Listen for 10 being the softest accent and 12 the heaviest — the compás closes on 10 and reopens on 12.
Practice: count aloud to twelve, clapping only the accents; then loop the guitar alone.