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...

Essentially, we’re just using the chord voicings we know from Solea and transposing our Bulerías to the Por Arriba key. But there are a few little tricks that can be confusing at first, so we go ahead and take a look at how to get around when playing Buleriás in this key.

We look at the chords you need to know to get around playing Bulerías in one of the most common alternate keys - the key of A minor. It’s a “normal” tonal A minor, so there’s a good chance your ears will feel very comfortable in this key.

Ending on beat 9 or 9+ is one of the more common syncopations in Bulerías, but that doesn’t necessarily make it any easier. In this video we look at how to syncopate your beat 10 without losing your pulse, so that you can stay in compás.

Your right hand already knows how to do some of this, but some of it will probably be new to you. Take your time learning this, as it’s another very important way the Bulerías compás can be played.

Using all of the material you’ve learned so far to put together a solo guitar Bulerías. It’s not really that different from anything we’ve done in other courses as long as you stay on top of the connections between all things.

We discuss few more options for starting your Bulerías, like starting with a falseta, and also some more ways to use our traditional ending that involve some chord substitutions and some syncopation.

You definitely want to get used to feeling how 6-beat phrases flow in Bulerías. The good news is that your right hand already knows how to do this!

We look at an extension of the basic Andalusian Cadence and some of the chord voicings and substitutions that we can use to vary this popular chord progression.

It’s a small thing, but one that will make your Bulerías groove a lot more. If you have the Level 2 material under control, these little details are now what will make all the difference between plain compás and something a bit more interesting.

The half compás can be really confusing when you first run into it. Here we introduce it in a way that will hopefully clear up some of the confusion and show you how to stay in compás even when you seem to be decidedly not in compás (strictly speaking)!

These turnarounds can send you seamlessly into another compás, and the trick is to do this without missing a beat. We show you how to handle these turnarounds so that it all just flows.

As you’ll see, playing compás this way can feel like another version of the Distance from 10 exercise. So it shouldn’t feel too weird if you have the previous video under control.

You may have heard people talk about feeling Bulerías in sixes rather than 12s. Whether you have or haven’t, we take a look at another way to feel the compás, though in a way we’ve talked about this before when discussing the Four Elements.

Everything feels a little different when we start on beat 1 instead of 12, so we look at our distance from 10 ideas when the compás starts on 1.

We look at some traditional ways to begin and end your Bulerias, whether you’re playing a solo piece or accompanying. Th tricky part is that both the intros and the endings start on beat 1.

Using all of the material you’ve learned so far to put together a solo guitar Bulerías. It’s not really that different from anything we’ve done in other courses as long as you stay on top of the connections between all things.

Though the traditional Desplante may sound a bit old-school in some contexts, there is a lot to be learned from its structure and the way it grooves. And you’ll hear a ton of modern variants of this, so you’ll want to have this under control, too.

We look at a few more ways to feel your distance from 10, this time involving alzapua and picado techniques. A great sort of system to easily vary your Bulerias compás.

This exercise is one of the most important for learning to really feel where you are in compás. We’ll have a few variations of this exercise coming up, so make sure you get this version down before moving on.

This 2-compás passage seems to confuse just about everyone at first, so we break it down in a way that should be easy to follow. Take it slowly and pay attention to the details and you can be one of the ones who gets it right!

We look at another way to start the compás on beat 1 - this time with triplets. This will prepare you for a very popular two-compás phrase that gives learners a lot of trouble, so take your time with this one, so you don’t make the common mistakes that happen when starting on beat 1.

As we’ve mentioned, this pattern will form the foundation of everything coming up, so take the time to learn this really really well!