Here’s a short but tricky Alegrias falseta that will really work both your left hand and your compás. In addition to some 16th note slurs that include a lot of pinky action, the phrases don’t quite resolve where we would expect them to. Once you’ve learned the notes, make sure you’re really comfo...
One of my favorite Tomatito falsetas por Tangos, this one features thumb and alzapua techniques, along with some big left hand stretches. Most of it is ‘simple’ but not easy, especially to get it to sound as powerful as Tomatito does when he plays it. And the little alzapua bit at the end is neit...
A traditional arpeggio falseta made up of elements that we can also use in constructing compás. We've run into most of this material earlier in the Compás Embellishments video.
Performance of a really lovely arpeggio falseta that works as an intro or as a lyrical interlude for dance or solo guitar.
A great all-scale falseta by Sabicas that happens to be one of the best-known Farruca falsetas around. Great Technical workout, too!
A nice falseta that features thumb with slurs at the beginning and ends with a long scale run.
Performance of one of Kai's falsetas that features some lovely harmony with arpeggios and ends with some scale bursts.
This one employs a lot of bouncy thumb technique and can drive pretty hard, though you can also play it more lyrically.
This is a great Seguirilla falseta that features a common polyrhythm. It's mostly thumb, with a great thumb/alzapua remate at the end.
This one starts out more on the lyrical side, but ends with a couple of more driving compases.
If you're only going to learn one falseta por Seguirillas, learn this one. It's very traditional and it's one you just have to know, even if you don't accompany dance.
Performance of Kai's Seguirilla falseta that he wrote for dance, but that also works well for solo guitar or Cante intro.
Performance of three short falsetas by the maestro Sabicas. They can be played together or as individual fasletas.
This falseta is really lovely, but definitely challenging. A classic by one of the great masters.
This falseta of Kai's has some tricky thumb technique plus quite a bit of syncopation.
A great traditional falseta featuring lots of arpeggios and slurs that's a bit more challenging than it may appear at first.
Friday Falseta - Soleá por Bulería Kai Narezo Falseta # 1- Performance
Friday Falseta - Soleá Por Bulerías - Kai Narezo Falseta #2 - Performance
This falseta is based on an Estribillo, or chorus, of a sung Tangos. It’s groovy and very playable, though the tag at the end can be just a bit challenging. You don’t have to play that tag, but it’s a fun one to learn and good for practicing your arpeggio to picado transition.
Besides being a fun straight-ahead picado falseta for your Tangos, this one doubles as a great picado study. Practicing preparing your right hand placement and working on your left-hand / right-hand coordination to get the most out of this one.
This short Tangos solo features a lot of compás and three falsetas that cover arpeggio, alzapua and picado techniques. You can learn it as played or you can think of it as a template for dropping in new falsetas and compás variations as you learn them.
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 may be simplest falseta in the course in terms of technique, though the syncopation will be tricky for some. It’s a great hard-driving falseta played on the bass strings that requires solid coordination of the left and right hands and a good feel for the compás.
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.
