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.

We look at some traditional ways to begin and end your Bulerias, 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.

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.

We discuss few more options for starting your Bulerías, like starting with a falseta, and also some more ways to use our traditional ending that involve some chord substitutions and some syncopation.

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.

Get comfortable resolving to upbeats instead of downbeats to make your Bulerías compás sound more modern.

You can use the basic unit of Alzapua by itself to create some fun Bulerias variations and at the same time improve your Alzapua technique.