Friday Falseta - Soleá Falseta by Moraíto - Performance

Friday Falseta - Buleria - A Minor Traditional Falseta - Performance - FREE

Friday Falseta - Buleria Alzapua - Kai Narezo Falseta Performance (Also works for Tangos)

Friday Falseta - Tangos Alzapua - Kai Narezo Falseta Performance (Also works for Bulería)

Friday Falseta - Bulería - Kai Narezo Falseta Thumb Thing - Performance

Friday Falseta - Bulería - Kai Narezo Falseta (from Al Aire) - Performance. Use this falseta in either a soleá or bulería.

Friday Falseta - Soleá - Kai Narezo Falseta (from Al Aire) - Performance. Use this falseta in either a soleá or bulería.

This Alzapua falseta is relatively simple but has one new feature, which is that rather than start on beat 12 it starts on beat 11. Thinking of beat 11 as a pickup to a downbeat on beat 12 can help make this feel more natural.

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 - 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.

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.

While perhaps not technically a falseta (there’s no real definition that I know of, but this feels like a bit less than a falseta), this is a great little bit to throw in between falsetas or after the singer has finished a letra. Check out the way the melody connects to the 10-11-12 phrase that p...

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!

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...

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.

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...

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.

These Sevillanas for solo guitar are great for learning Sevillanas, working on your technique and accompanying dance, too. Learn one at a time, and each one will be easier than the previous one as you get the hang of the structure.

Four Sevillanas in four different keys (E, A, F# and B phrygian). These Sevillanas are pretty advanced both technically and rhythmically, so you may want to review the Traditional Sevillanas tutorial before tackling this.

A relatively simple falseta that is traditionally phrased with 8th notes starting on beat 12 and ending on beat 6, until the final longer phrase which starts on 12 and end on beat 6 of the next compás.

The first Bulerías falseta I ever wrote 🙂 Each phrase is made up of 8th notes that start on 12 and end on 6, so by now it should just be a matter of learning the notes.

This is a very traditional falseta in the Morón style (Morón de la Frontera is a town not too far from Sevilla that’s famous for its flamenco). The falseta is relatively simple and involves thumb technique in the right hand and some slurs in the left hand. The phrasing is very traditional and thi...