or ▁C 7 ) ▁▁ 4 th ▁line : ▁Am , ▁G , ▁F , ▁E , ▁F , ▁E ▁ ▁And ▁a ▁usual ▁pro gression ▁with ▁a ▁three - line ▁st anza : ▁ ▁first ▁line : ▁E 7 , ▁Am ▁▁ 2 nd ▁line : ▁G 7 , ▁C ▁▁ 3 rd ▁line : ▁Am , ▁G , ▁F , ▁E , ▁F , ▁E ▁▁ ▁Str ucture ▁of ▁the ▁So le á ▁form ▁ ▁So le á ▁guitar ▁style ▁is ▁easily ▁identified ▁by ▁its ▁met re ▁and ▁Ph ry g ian ▁mode , ▁but ▁also ▁by ▁a ▁series ▁of ▁characteristic ▁phr ases . ▁A ▁guitar ist , ▁when ▁playing ▁sole á , ▁will ▁combine : ▁ ▁" ll am adas " ▁( the ▁" call ") ▁on ▁the ▁I ▁degree ▁of ▁the ▁Ph ry g ian ▁alter ed ▁cad ence ▁( in ▁E , ▁E ▁major ) ▁▁ ▁" comp as " ▁( the ▁standard ▁accompan iment ▁figure ) ▁ ▁" fal set a " ▁( pl ur . ▁" fal set as "), ▁mel od ic ▁ideas ▁played ▁between ▁different ▁st anz as . ▁All ▁sections ▁have ▁an ▁even ▁number ▁of ▁" comp as " ▁and ▁are ▁compar able ▁in ▁duration . ▁▁ ▁History ▁ ▁The ▁orig ins ▁of ▁this ▁" p alo ", ▁as ▁with ▁most ▁" pal os ", ▁is ▁unknown , ▁though ▁has ▁been ▁subject ▁to ▁much ▁spec ulation . ▁In ▁spite ▁of ▁being ▁one ▁of ▁the ▁most ▁pr estig ious ▁" pal os ", ▁the