▁spe cially ▁true ▁when ▁no ▁dan cing ▁takes ▁place : ▁the ▁main ▁interest ▁there ▁is ▁the ▁singing ▁( or ▁playing ) ▁and ▁too ▁much ▁per cussion ▁can ▁take ▁attention ▁away ▁from ▁the ▁music . ▁Those ▁be ats ▁though ▁are ▁often ▁marked ▁when ▁there ▁is ▁dance , ▁or ▁when ▁performing ▁other ▁pal os ▁in ▁the ▁same ▁met re ▁like ▁Ale gr ías ▁or ▁Bul er ía ▁por ▁sole á . ▁However , ▁these ▁are ▁not ▁to ▁be ▁taken ▁as ▁hard - and - fast ▁rules , ▁but ▁just ▁as ▁general ▁gu idel ines . ▁ ▁A ▁more ▁complex ▁example . ▁ ▁The ▁small ▁orange ▁squares ▁should ▁be ▁played ▁extremely ▁soft ly . ▁ ▁The ▁above ▁are ▁just ▁two ▁examples ▁among ▁the ▁variety ▁of ▁variations . ▁When ▁there ▁are ▁two ▁or ▁more ▁people ▁playing ▁pal mas , ▁one ▁of ▁them ▁usually ▁plays ▁a ▁base ▁pattern , ▁emphas izing ▁the ▁regular ▁be ats , ▁while ▁another ▁plays ▁the ▁up be ats ▁( the ▁" contr as ", ▁short ▁for ▁" contr ati em pos "). ▁ ▁The ▁sole á ▁can ▁be ▁played ▁rub ato , ▁that ▁is , ▁slow ing ▁down ▁and ▁speed ing ▁up ▁the ▁tempo ▁to ▁en rich ▁its ▁express ive ▁quality . ▁Of ▁course ▁regular ▁tempo ▁is ▁mand atory ▁when ▁it ▁is ▁played ▁and ▁s ung ▁to ▁accomp any ▁a ▁dan cer . ▁▁ ▁Harm onic ▁structure ▁ ▁Sol é a ▁develop s ▁in ▁( alter ed ) ▁Ph ry g ian ▁mode ▁" por ▁arrib a " ▁( fund amental ▁on ▁the