Sextuplet arpeggios are a huge part of playing Soleá and also an important Right Hand pattern to master for flamenco guitar in general. Here we look at how just thinking of them the right way can help playing them better, and then we look at a couple of ways to practice them so you can incorporat...

A nice strong Cierre por Alegrias that includes a very important Dominant voicing that every flamenco player needs to know.

When playing Alegrias in E, the B7 chord resolves to E. If you precede the B7 with a C chord you get an interesting sound (basically a Substitute Dominant, if you speak Jazz) that you can use in lots of ways to spice up your compás.

By playing what is essentially a B Phrygian rather than a B Dominant we can vary the sound of our Alzapuas for Alegrias in E, while also making like just a little bit easier on our left hanD.

A common chord progression that we use in Fandangos de Huelva compás and a couple of ways of using it.

A nice little compás variation for the basic compás of Fandangos de Huelva.

A compás bit for Fandangos de Huelva that extends the compás for another 12 beats.

A super traditional little compás bit for Soeá that's also dead easy and fun to play.

A very traditional and important Soleá Compás variation for the 7-8-9 spot. There are lots of variations on this theme, so we look at one of the basic ways of doing this.

An advanced variation on the traditional escobilla melody in Soleá. This phrasing is less common than some others, but common enough that you'll want to get to know it.

A nice little Cierre to punctuate your falsetas (or anything) Por Bulerias.

A compás variation Por Bulerias I call One Unit of Alzapua. It also happens to be a great way to work on your alzapua.

A traditional but groovy variation for the 6-7-8-9-10 part of your Bulerias compás.

Add the Db to your Bb chord to add variety to your Bulerias Compás. Does that make it a Bb minor chord? Maybe..

Playing around with beat 4 to add variety to your compás Por Tangos.

A little variation to basic compás Por Tangos that adds a bit of color to the Bb chord.

Playing on the downbeat of beat 1, or even the anticipation of 1, adds variety to your compás Por Tangos.

A traditional little melody to add variety to your compás Por Tangos.

Use the Bb minor to add character to your compás Por Tangos.

Here’s a Bulerias falseta that’s played in the key of Rondeña (Tuning = D A D F# B E). It’s almost all arpeggios, but note that though I’m playing ami arpeggios, they’re 8th notes, so only two notes per beat (this is very common for Bulerias in general).

Here’s a Bulerias falseta that’s played in the key of Rondeña (Tuning = D A D F# B E). It’s almost all arpeggios, but note that though I’m playing ami arpeggios, they’re 8th notes, so only two notes per beat (this is very common for Bulerias in general).

Here’s a Bulerias falseta that’s played in the key of Rondeña (Tuning = D A D F# B E). It’s almost all arpeggios, but note that though I’m playing ami arpeggios, they’re 8th notes, so only two notes per beat (this is very common for Bulerias in general).

If you have to fake it, you might as well do it right. Maybe you’re not a flamenco player, but you dig the sound. Or you’re a composer or producer and you got a gig to deliver something that sounds “Spanish” or flamenco-ish. In this video we show you what you need to know, and to avoid, to get it...

A rather advanced Rondeña falseta that features a wide variety of techniques. If you use the notation or TABs for this one, keep in mind that as this is a Libre falseta, the rhythms as written will not be strictly accurate. Feel free to play as you feel, or use the recording as a guide for rhythm...