It’s a small thing, but one that will make your Bulerías groove a lot more. If you have the Level 2 material under control, these little details are now what will make all the difference between plain compás and something a bit more interesting.

We look at an extension of the basic Andalusian Cadence and some of the chord voicings and substitutions that we can use to vary this popular chord progression.

You definitely want to get used to feeling how 6-beat phrases flow in Bulerías. The good news is that your right hand already knows how to do this!

Your right hand already knows how to do some of this, but some of it will probably be new to you. Take your time learning this, as it’s another very important way the Bulerías compás can be played.

The half compás can be really confusing when you first run into it. Here we introduce it in a way that will hopefully clear up some of the confusion and show you how to stay in compás even when you seem to be decidedly not in compás (strictly speaking)!

Ending on beat 9 or 9+ is one of the more common syncopations in Bulerías, but that doesn’t necessarily make it any easier. In this video we look at how to syncopate your beat 10 without losing your pulse, so that you can stay in compás.

Sabicas was famous for his minor Bulerías, and this may be his most famous falseta of all. It’s almost all picado in eight notes, and the phrases start on beat 1 and 7 instead of the more common beats 12 and 6.

Sabicas was famous for his minor Bulerías, and this may be his most famous falseta of all. It’s almost all picado in eight notes, and the phrases start on beat 1 and 7 instead of the more common beats 12 and 6.

Sabicas was famous for his minor Bulerías, and this may be his most famous falseta of all. It’s almost all picado in eight notes, and the phrases start on beat 1 and 7 instead of the more common beats 12 and 6.

This picado falseta by Enrique Melchor features both the symmetric diminished scale, which is a staple of modern flamenco, and diminished arpeggios, which are somewhat more traditional. You may find you disagree with the fingerings given, which is fine if you find an easier way for you to play th...

This picado falseta by Enrique Melchor features both the symmetric diminished scale, which is a staple of modern flamenco, and diminished arpeggios, which are somewhat more traditional. You may find you disagree with the fingerings given, which is fine if you find an easier way for you to play th...

This picado falseta by Enrique Melchor features both the symmetric diminished scale, which is a staple of modern flamenco, and diminished arpeggios, which are somewhat more traditional. You may find you disagree with the fingerings given, which is fine if you find an easier way for you to play th...

This Bulerías Falseta combines arpeggio, picado, thumb and some left-hand stretches into a somewhat longer falseta than we’ve seen. It can be used as an introduction but also works anywhere else you’d play a falseta.

This Bulerías Falseta combines arpeggio, picado, thumb and some left-hand stretches into a somewhat longer falseta than we’ve seen. It can be used as an introduction but also works anywhere else you’d play a falseta.

This Bulerías Falseta combines arpeggio, picado, thumb and some left-hand stretches into a somewhat longer falseta than we’ve seen. It can be used as an introduction but also works anywhere else you’d play a falseta.

This Bulerías falseta starts out with a Major 7 sound (the Vicente Amigo influence) that combines arpeggio and picado, but it ends with a driving thumb figure that changes the energy of the falseta - and that can also be used on its own.

This Bulerías falseta starts out with a Major 7 sound (the Vicente Amigo influence) that combines arpeggio and picado, but it ends with a driving thumb figure that changes the energy of the falseta - and that can also be used on its own.

This Bulerías falseta starts out with a Major 7 sound (the Vicente Amigo influence) that combines arpeggio and picado, but it ends with a driving thumb figure that changes the energy of the falseta - and that can also be used on its own.

Not only is this a great-sounding Bulerías falseta, it’s also a fantastic picado burst exercise. It also features some interesting phrasing and syncopation, so stay focused!

Not only is this a great-sounding Bulerías falseta, it’s also a fantastic picado burst exercise. It also features some interesting phrasing and syncopation, so stay focused!

Played slower at 140bpm and looped. Not only is this a great-sounding Bulerías falseta, it’s also a fantastic picado burst exercise. It also features some interesting phrasing and syncopation, so stay focused!

We had to include at least on Paco de Lucia falseta in the course, and this one seems to have been one of Paco’s favorites, given how often he played it. There’s a lot going on, both rhythmically and technically, so take this one slow and make sure you understand where each phrase starts and stop...

We had to include at least on Paco de Lucia falseta in the course, and this one seems to have been one of Paco’s favorites, given how often he played it. There’s a lot going on, both rhythmically and technically, so take this one slow and make sure you understand where each phrase starts and stop...

Played slow at 140 bpm and looped. We had to include at least on Paco de Lucia falseta in the course, and this one seems to have been one of Paco’s favorites, given how often he played it. There’s a lot going on, both rhythmically and technically, so take this one slow and make sure you understan...