As we’ve mentioned, this pattern will form the foundation of everything coming up, so take the time to learn this really really well!

We look at another way to start the compás on beat 1 - this time with triplets. This will prepare you for a very popular two-compás phrase that gives learners a lot of trouble, so take your time with this one, so you don’t make the common mistakes that happen when starting on beat 1.

This 2-compás passage seems to confuse just about everyone at first, so we break it down in a way that should be easy to follow. Take it slowly and pay attention to the details and you can be one of the ones who gets it right!

Though the traditional Desplante may sound a bit old-school in some contexts, there is a lot to be learned from its structure and the way it grooves. And you’ll hear a ton of modern variants of this, so you’ll want to have this under control, too.

This exercise is one of the most important for learning to really feel where you are in compás. We’ll have a few variations of this exercise coming up, so make sure you get this version down before moving on.

As you’ll see, playing compás this way can feel like another version of the Distance from 10 exercise. So it shouldn’t feel too weird if you have the previous video under control.

We look at a few more ways to feel your distance from 10, this time involving alzapua and picado techniques. A great sort of system to easily vary your Bulerias compás.

Everything feels a little different when we start on beat 1 instead of 12, so we look at our distance from 10 ideas when the compás starts on 1.

You may have heard people talk about feeling Bulerías in sixes rather than 12s. Whether you have or haven’t, we take a look at another way to feel the compás, though in a way we’ve talked about this before when discussing the Four Elements.

These turnarounds can send you seamlessly into another compás, and the trick is to do this without missing a beat. We show you how to handle these turnarounds so that it all just flows.

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 picado falseta that is phrased in 8th notes, which each phrase starting on beat 12 and ending on beat 6.

A picado falseta that is traditionally phrased with 8th notes.

A picado falseta that is phrased in 8th notes, which each phrase starting on beat 12 and ending on beat 6.

This Bulerías falseta starts on 11 and then goes on to a phrase that’s one and a half compáses long. The repeat features an extended ending with a very syncopated rhythm, and the falseta ends on 10.

This Bulerías falseta starts on 11 and then goes on to a phrase that’s one and a half compáses long. The repeat features an extended ending with a very syncopated rhythm, and the falseta ends on 10.

This Bulerías falseta starts on 11 and then goes on to a phrase that’s one and a half compáses long. The repeat features an extended ending with a very syncopated rhythm, and the falseta ends on 10.

This Bulerías falseta - which can also be thrown in as a “detalle” (literally a detail, this can be a short flourish or something less than a falseta that you throw in somewhere) - features a great thumb and index technique that’s unique to flamenco, as well as a different kind of 6-beat phrase.

This Bulerías falseta - which can also be thrown in as a “detalle” (literally a detail, this can be a short flourish or something less than a falseta that you throw in somewhere) - features a great thumb and index technique that’s unique to flamenco, as well as a different kind of 6-beat phrase.

This Bulerías falseta - which can also be thrown in as a “detalle” (literally a detail, this can be a short flourish or something less than a falseta that you throw in somewhere) - features a great thumb and index technique that’s unique to flamenco, as well as a different kind of 6-beat phrase.

Probably the most jubilant falseta in the whole Bulerías course, this one has some interesting staccato syncopation at the beginning, and continues to some syncopated versions of otherwise traditional phrasing.

Probably the most jubilant falseta in the whole Bulerías course, this one has some interesting staccato syncopation at the beginning, and continues to some syncopated versions of otherwise traditional phrasing.

Probably the most jubilant falseta in the whole Bulerías course, this one has some interesting staccato syncopation at the beginning, and continues to some syncopated versions of otherwise traditional phrasing.

This arpeggio falseta features some beautiful chords - and melodies within each chord - as well as some tricky syncopated anticipations of the downbeat of each phrase. You can also play the chord progression with rasgueados rather than arpeggios, or you can do both, as we do here.