Here are some variations on the same idea recorded in the 1930s, the 1950s and the 1970s.
From his solo recordings (1936, "Soleares"). In this first example Ramón plays with loads of rubato phrasing, and the notation is an approximation of a steady tempo. Notice his unusual cierre over beats 7 to 9. As we shall see, each guitarist adds his own ideas to this space in the falseta. Capo at third fret.
La Guitarra Flamenca (1957-8, "Soleares"). The falseta is still in triplets but Sabicas gives it a rhythmic overhaul. He retains Ramón's first-string counterpoint at the end of beat 3 and he slurs the third string on beat 6. In the cierre, the fifth-string B is unusual as it flats the fifth of the F chord. Capo at third fret.
With Naranjito de Triana (1970, "Soleá del Fillo y Triana"). Paco shifts into overdrive, stepping up Sabicas' triplet arpeggiation to sixteenths. The third-string slur at beat 6 echoes Sabicas and the remate (beats 10 to 12) is from Niño Ricardo. As in the other examples, the cierre is surprising. Capo at fifth fret.
With Antonio Mairena (1976, "Para que Dios"). The falseta opens the track and beats 3 and 6 are held a little longer (rubato). At beat 9, the thirty-second notes are a very fast slur that pauses on the third note (the A). Enrique's left hand is amazing! Capo at sixth fret.