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.

This is the final performance from our Alegrías Explained episodes. See how it all comes together with the Cante, Baile and Guitar from top to bottom! To understand and hear all the explanations between the three: Cante, Baile and Guitar, in large detail of each section, there are 7 lesson episod...

Kai and Juan perform a Soleá that includes a Salida, two letras (each in a different style) and a Macho that speeds up a bit and goes to the parallel Major key.

Kai Narezo and Jesus Montoya play through all of the important elements of a sung Alegrías. They cover the Tiri-ti-tran, the letra, coletilla, Bulería de Cádiz and an Estribillo while showing you the guitar chords and where in the compás the letras begin. We should note that this is not the struc...

Three ideas for compás embellishment in an advanced form.

This Tientos falseta by Tomatito use thumb technique and alzapua, and features a couple of big stretches in the left hand.

This Tientos falseta by Enrique Melchor uses all thumb technique and can be played to equal effect whether in strict time or in the more loose ‘plastic’ Tientos feel.

This advanced level Tientos falseta by Kai features quite a bit of picado and thumb technique, with an extended sextuplet scale run at the end.

This Tientos falseta by Kai is great for accompanying dance. It features a couple of big left hand stretches and quite a few picado runs, including a short burst of 32nd notes (which at this tempo is not quite as daunting as it sounds.)

Friday Falseta Kai Narezo Tangos Alzapua Workout - Performance

Friday Falseta - Bulerías falseta by Quique Paredes - Performance