In the second lesson we look at the first letra and the Coletilla and how to accompany them. These two sections of the cante generally follow the exact same chord progression, but they feel different. From there we get into the falseta and then the Llamada for the second letra.

It’s traditional...

In this week’s episode we look at the second letra of the danced Alegrias - how to get into it, the letra itself, and what happens after. The accompaniment of the cante is the same as in the first letra - you can review that here: https://learn.flamencoexplained.com/videos/cante-alegrias - but ge...

In this week’s episode we look at the Silencio and the transition into the Castellana. The Silencio itself is pretty standardized - it’s essentially a mini guitar solo that is slow, lyrical and in the minor key, and it’s one of those things you can actually have prepared beforehand. The Castellan...

The Escobilla - in Alegrías is all about giving the dancer a pulse for their footwork. The tricky bit is knowing what pulse they need. Normally a lifetime of playing for dance class will prepare you to know this, but here at Flamenco Explained we’re all about giving you the cheat-sheet, so we br...

The bulería that happens at the end of the Alegrías is known as the Bulería de Cadiz, because Alegrías originated in the port city of Cadiz, and the letras are very distinctive. As far as the right hand is concerned it’s just another bulería, but the melodies and chords are different than the phr...

There are a few ways to end an Alegrías - the dancer can end on stage, go back to their chair or walk off stage. Either way you need to be accompanying the Cante and keeping up with the dancer, who may be speeding things up again at the very end. As with everything, once you know the options you’...

Alegrias Basic Compas, page 55 from the book Flamenco Explained: The Guitarist's Survival Guide.

Alegrias Basic Compas, pages 56 & 57 from the book Flamenco Explained: The Guitarist's Survival Guide.

Alegrias Llamadas, pages 58 & 59 from the book Flamenco Explained: The Guitarist's Survival Guide.

Alegrias Falsetas, pages 60 & 61 from the book Flamenco Explained: The Guitarist's Survival Guide.

Alegrias Falseta: Escobilla Phrase, page 62 from the book Flamenco Explained: The Guitarist's Survival Guide.

Alegrias Falseta: A New Golpe pages 63 & 64 from the book Flamenco Explained: The Guitarist's Survival Guide.

Alegrias More Advanced Falseta, pages 65 & 66 from the book Flamenco Explained: The Guitarist's Survival Guide.

Alegrias Falseta: Silencio pages 67 & 68 from the book Flamenco Explained: The Guitarist's Survival Guide.

Alegrias: Baile in, Transition to Bulerias page 103 from the book Flamenco Explained: The Guitarist's Survival Guide.

Alegrias: Escobilla pages 101 & 102 from the book Flamenco Explained: The Guitarist's Survival Guide.

Introduction to the Llamada in Alegrias.

Here’s a short but tricky Alegrias falseta that will really work both your left hand and your compás. In addition to some 16th note slurs that include a lot of pinky action, the phrases don’t quite resolve where we would expect them to. Once you’ve learned the notes, make sure you’re really comfo...

Played slow and looped: a short but tricky Alegrias falseta that will really work both your left hand and your compás. In addition to some 16th note slurs that include a lot of pinky action, the phrases don’t quite resolve where we would expect them to. Once you’ve learned the notes, make sure yo...

Here’s a short but tricky Alegrias falseta that will really work both your left hand and your compás. In addition to some 16th note slurs that include a lot of pinky action, the phrases don’t quite resolve where we would expect them to. Once you’ve learned the notes, make sure you’re really comfo...