Part 2 of the Basic Warmup is all about Ascending Slurs, otherwise known as Hammer-Ons. This is a very simple exercise, so be sure to really focus on the mechanics of the left hand and of the slurs themselves, and to do them with as little tension/effort as possible.

Part 3 of the Basic Warmup is all about Descending Slurs, otherwise known as Pull-Offs. This is a very simple exercise, so be sure to really focus on the mechanics of the left hand and of the slurs themselves, and to do them with as little tension/effort as possible. And remember that you're actu...

In this Flamenco Guitar tutorial by Kai Narezo, learn how to stay in compás while playing the trill in bulerias.

In this flamenco guitar lesson Kai Narezo discusses how to make bar chords without stressing out your left hand. If you’re new to bar chords or if you’ve ever had any tension or pain from playing bar chords you’ll want to check this out.

This Pro-Tip video takes a look at two of the most annoying left-hand stretches that come up in flamenco guitar. They’re used mainly when playing Por Medio (in the key of A Phrygian), though you’ll also find them in other keys. It’s all about knowing how to approach them, so that’s what we look a...

Here’s a funky contratiempo thing with a Clave-like golpe technique we do for flamenco guitar that can be used in a surprising amount of places. It takes a little getting used to, but once you have it down you can use it in Farruca, Tangos, Bulerias and anywheres else you find a way to fit it in.

Do you want to learn how to record yourself playing guitar? Having recorded more than 1500 guitar videos, I thought I’d share some of the stuff I’ve learned over the years about how to record nylon string guitars. The first section deals with what to think about when recording in mono (one microp...

We hang out with luthier Stephen Hill as he tells us everything you’d want to know about setting up a flamenco guitar. In addition to the basics, like how high the action should be at the 12th fret (and how luthiers actually achieve this), Stephen covers things most of us didn’t know were also im...

Key Names, Chord Shapes and Capos - How to Talk About Keys and Transpose For Flamenco Accompaniment - In Part 2 of this video we look at how we can use the capo in flamenco to stay in the same key (in absolute terms), while changing the sound of the guitar by playing with different chord shapes. ...

Key Names, Chord Shapes & Capos! In Part 1 of this video Kai demonstrates how to talk about keys and transpose for Flamenco Accompaniment - a simple but confusing concept. This includes what to name things once you start using a capo. We use capos all the time in flamenco, especially when accompa...

A fun Bulerias falseta played Por Arriba (in E Phrygian) by the great Juan Habichuela, this one features lots of figures that might feel familiar from Soleá, but that are phrased in a very Bulerias kind of way. It’s a noodly one with some interesting with some interesting compás going on, so pay ...

A fun Bulerias falseta played Por Arriba (in E Phrygian) by the great Juan Habichuela, this one features lots of figures that might feel familiar from Soleá, but that are phrased in a very Bulerias kind of way. It’s a noodly one with some interesting with some interesting compás going on, so pay ...

A fun Bulerias falseta played Por Arriba (in E Phrygian) by the great Juan Habichuela, this one features lots of figures that might feel familiar from Soleá, but that are phrased in a very Bulerias kind of way. It’s a noodly one with some interesting with some interesting compás going on, so pay ...

A Guajiras falseta by Kai that can drive when played at faster tempos or be played slower for a more lyrical sound.

A Guajiras falseta by Kai that can drive when played at faster tempos or be played slower for a more lyrical sound.

A Guajiras falseta by Kai that can drive when played at faster tempos or be played slower for a more lyrical sound.

An advanced Soleá Por Bulerías falseta by Miguel Ángel Cortés, this one features a bunch of Picado and some challenging left-hand stretches.

An advanced Soleá Por BulerÍas falseta by Miguel Ángel Cortés, this one features a bunch of Picado and some challenging left-hand stretches.

An advanced Soleá Por Bulerías falseta by Miguel Ángel Cortés, this one features a bunch of Picado and some challenging left-hand stretches.

This Seguirillas falseta features Major chords resolving down to minor chords in a slightly different sound for Seguirilla, and ends with an arpeggio/picado section that brings it back to a more traditional Seguirillas kind of sound

This Seguirillas falseta features Major chords resolving down to minor chords in a slightly different sound for Seguirilla, and ends with an arpeggio/picado section that brings it back to a more traditional Seguirillas kind of sound

This Seguirillas falseta features Major chords resolving down to minor chords in a slightly different sound for Seguirilla, and ends with an arpeggio/picado section that brings it back to a more traditional Seguirillas kind of sound

An advanced Alegrias falseta in E Major, the first part of this falseta mimics the phrasing of the Tirititran or Coletilla that’s sung in Alegrias. Though the falseta starts on the pickup of beat 11 and the phrasing of the first half starts on 12 (like the TiritiTran and the Coletilla), the measu...

An advanced Alegrias falseta in E Major, the first part of this falseta mimics the phrasing of the Tirititran or Coletilla that’s sung in Alegrias. Though the falseta starts on the pickup of beat 11 and the phrasing of the first half starts on 12 (like the TiritiTran and the Coletilla), the measu...