We talk about what a Bulerías is, where it’s from and how it’s used.

Before we pick up the guitar, we get the basic palmas patterns down to better understand the compás

We look at a new way to organize your thinking about Bulerías compás that makes it easier to stay in compás no matter what.

The essential right-hand patterns you want to learn so that you can stay in compás no matter what. Learn these well and you’ll have a much easier time down the road.

A few ways to vary the second half of the Bulerías compás. Learning these will help you understand one of the important ways that we create more interesting and varied compás por Bulerías.

How to start your Bulerías compás on beat 1, outside of the context of an intro or a Llamada. We look at a way of changing the first half of the compás while using the variations we’ve already learned for the second half.

These intros are a great way to start your Bulerías, and they’ll also get you used to starting on 1, which is another very important compás element that you want to get used to.

Learn this well! Everything that follows in levels 2 & 3 uses this pattern as the foundation. If you get this under control, there is almost no reason for you ever to feel lost or out of compás por Bulerias.

In this crucial video for practicing to stay in compás as you add falsetas to your Bulerías repertoire, we break it down and look at a simple exercise for reinforcing good compás.

A relatively simple falseta that is traditionally phrased with 8th notes starting on beat 12 and ending on beat 6, until the final longer phrase which starts on 12 and end on beat 6 of the next compás.

A relatively simple falseta that is traditionally phrased with 8th notes starting on beat 12 and ending on beat 6, until the final longer phrase which starts on 12 and end on beat 6 of the next compás.

A relatively simple falseta that is traditionally phrased with 8th notes starting on beat 12 and ending on beat 6, until the final longer phrase which starts on 12 and end on beat 6 of the next compás.

This is a very traditional falseta in the Morón style (Morón de la Frontera is a town not too far from Sevilla that’s famous for its flamenco). The falseta is relatively simple and involves thumb technique in the right hand and some slurs in the left hand. The phrasing is very traditional and thi...

This is a very traditional falseta in the Morón style (Morón de la Frontera is a town not too far from Sevilla that’s famous for its flamenco). The falseta is relatively simple and involves thumb technique in the right hand and some slurs in the left hand. The phrasing is very traditional and thi...

This is a very traditional falseta in the Morón style (Morón de la Frontera is a town not too far from Sevilla that’s famous for its flamenco). The falseta is relatively simple and involves thumb technique in the right hand and some slurs in the left hand. The phrasing is very traditional and thi...

The first Bulerías falseta I ever wrote 🙂 Each phrase is made up of 8th notes that start on 12 and end on 6, so by now it should just be a matter of learning the notes.

The first Bulerías falseta I ever wrote 🙂 Each phrase is made up of 8th notes that start on 12 and end on 6, so by now it should just be a matter of learning the notes.

The first Bulerías falseta I ever wrote 🙂 Each phrase is made up of 8th notes that start on 12 and end on 6, so by now it should just be a matter of learning the notes.

This Alzapua falseta is relatively simple but has one new feature, which is that rather than start on beat 12 it starts on beat 11. Thinking of beat 11 as a pickup to a downbeat on beat 12 can help make this feel more natural.

This Alzapua falseta is relatively simple but has one new feature, which is that rather than start on beat 12 it starts on beat 11. Thinking of beat 11 as a pickup to a downbeat on beat 12 can help make this feel more natural.

This Alzapua falseta is relatively simple but has one new feature, which is that rather than start on beat 12 it starts on beat 11. Thinking of beat 11 as a pickup to a downbeat on beat 12 can help make this feel more natural.

We look at some traditional ways to begin and end your Bulerías, whether you’re playing a solo piece or accompanying. Th tricky part is that both the intros and the endings start on beat 1.

Using all of the material you’ve learned so far to put together a solo guitar Bulerías. It’s not really that different from anything we’ve done in other courses as long as you stay on top of the connections between all things.