Farruca Arpeggio/ Compás Falseta falseta performance played slower and looped 10X times for easy play-along practice.

Performance of one of Kai's falsetas that features some lovely harmony with arpeggios and ends with some scale bursts.

Tutorial for one of Kai's falsetas that features some lovely harmony with arpeggios and ends with some scale bursts.

Kai Narezo Intro Arpeggio Falseta played slower and looped 10X times for easy play-along practice.

Performance of a really lovely arpeggio falseta that works as an intro or as a lyrical interlude for dance or solo guitar.

Tutorial for a really lovely arpeggio falseta that works as an intro or as a lyrical interlude for dance or solo guitar.

Farruca Lyrical Arpeggio performance played slower and looped 10X times for easy play-along practice.

Tangos can be played in many keys, and after Por Medio, the most common other key is Por Arriba (E Phrygian), the key that Tangos de Granada is often played in. Here’s a fun falseta that can be played as written, but also has a lot of moving parts that you can use as shorter falsetas or simply to...

Tangos can be played in many keys, and after Por Medio, the most common other key is Por Arriba (E Phrygian), the key that Tangos de Granada is often played in. Here’s a fun falseta that can be played as written, but also has a lot of moving parts that you can use as shorter falsetas or simply to...

Tangos can be played in many keys, and after Por Medio, the most common other key is Por Arriba (E Phrygian), the key that Tangos de Granada is often played in. Here’s a fun falseta that can be played as written, but also has a lot of moving parts that you can use as shorter falsetas or simply to...

This arpeggio falseta, which works great as an intro or anywhere in your Tangos, is relatively simple but has a few little technical challenges and some syncopation that make a bit less simple than it may seem.

This arpeggio falseta, which works great as an intro or anywhere in your Tangos, is relatively simple but has a few little technical challenges and some syncopation that make a bit less simple than it may seem.

Another good candidate for an intro falseta, this one introduces a new technique of adding a pull-off in the middle of an arpeggio that is quite common in flamenco.

Another good candidate for an intro falseta, this one introduces a new technique of adding a pull-off in the middle of an arpeggio that is quite common in flamenco.

A lot of the compás we play in Soleá Por Buleria uses snippets of the escobilla melody, and we also play tons of variations of the melody when accompanying Soleá Por Buleria or just to make our compás more interesting.

We break down and explain this great traditional falseta that has a couple of real challenges along the way.

A loop of the slower version of this falseta to get it into your ears.

One of my falsetas that I use as an intro, this one features some advanced arpeggio patterns and a bit of alzapua and thumb at the end. It’s really two falsetas joined together, but since I almost always play them as one I thought I’d present them that way here.

One of my falsetas that I use as an intro, this one features some advanced arpeggio patterns and a bit of alzapua and thumb at the end. It’s really two falsetas joined together, but since I almost always play them as one I thought I’d present them that way here. This is played slow and looped sev...

A more modern approach to the Tarantos Escobilla, you can think of this chord progression and arpeggio pattern as a jumping-off point for all sorts of Tarantos Escobilla material or play it as-is.

A more modern approach to the Tarantos Escobilla, you can think of this chord progression and arpeggio pattern as a jumping-off point for all sorts of Tarantos Escobilla material or play it as-is. This is played at 52bpm and looped several times.

An advanced Alegrias falseta in E Major, the first part of this falseta mimics the phrasing of the Tirititran or Coletilla that’s sung in Alegrias. Though the falseta starts on the pickup of beat 11 and the phrasing of the first half starts on 12 (like the TiritiTran and the Coletilla), the measu...

An advanced Alegrias falseta in E Major, the first part of this falseta mimics the phrasing of the Tirititran or Coletilla that’s sung in Alegrias. Though the falseta starts on the pickup of beat 11 and the phrasing of the first half starts on 12 (like the TiritiTran and the Coletilla), the measu...

An advanced Alegrias falseta in E Major, the first part of this falseta mimics the phrasing of the Tirititran or Coletilla that’s sung in Alegrias. Though the falseta starts on the pickup of beat 11 and the phrasing of the first half starts on 12 (like the TiritiTran and the Coletilla), the measu...