Here we look at how the concept of compás works as well as some of the various meanings of this word that is so very central to flamenco.

In this video we look at how to practice compás once you have the basic concepts down. We start by looking at Soleá, though the the concepts apply to pretty much all Palos. At the 15:10 mark we get into practicing Bulerias compás, and at 22:52 we get into one of the very specific things that mess...

Stay in compás! What it means to be in or out of compás.

Here we look at the 12-beat compás in the context of Soleá. This is one of the most important lessons on this site, so even if you think you now this you might want to start here for review.

Start here if you're ready to dive in to Bulerias. The better you train your right hand to stay in compás regardless of what the left hand is doing, the better and more reliable your compás will be.

In this lesson we break down the compás for Alegrias - a 12-beat compás that's faster than a Soleá but not as fast as a Buleria. All of the right-hand patterns here also apply perfectly to Soleá por Buleria.

In this video we look at most important elements of Tangos - the basic compás and Llamadas/Cierres - and in particular we look at a variation of the two-finger rasgueado that is traditionally used to play the compás. This will form the foundation of everything you do in Tangos, so take your time ...

In this video we look at the Llamada por Seguirillas as a way to really understand how to count and feel the compás. Seguirillas is built on the same 12-beat foundation as Soleá, but we feel and count it in a very different way, so this is a great place to start. We also look at one of the most c...

In this video we get into the basic compás of Seguirillas and how to flow from the llamada into the compás and back again. By the end of this video you should have a solid understanding of how Seguirilla feels and how it works.

If you’re feeling good about your Seguirilla compassions it’s time to start learning some compás variations and some new chord voicings so your compás will sound a little more interesting and you’ll have more options.

Fandangos de Huelva (not to be confused with many of the other Fandangos) is one of the lighter Palos and a lot fun to play. The groove is similar Sevillanas and the coplas (verses) are generally pretty predictable, so it’s a perfect Palo to get your feet wet accompanying the cante.

A really quick introduction to the basic flamenco forms, including Soleá, Soleá por Buleria, Buleria, Tientos, Tangos, Rumba, Alegrias, Seguirilla, Guajiras, Farruca, Colombiana, Taranto, Taranta and Fandango de Huelva. Not all of the Palos, but a good intro to some of the more common ones.