In this video we look at the strings themselves and their names. We also look a little bit at whole steps and half steps. This is a good video to watch if this is all new to you. You don’t need to memorize any of this just yet, but it can’t hurt to know.

Though we don’t use a capo in this course, the capo is used all the time in flamenco. So here we take a look a how some of the different kinds of capos work, and what you need to know to use one.

We look at tuning your guitar. You’ll probably want to use a tuner, so w take a look at some of those, too. Being in tune will make everything sounds better - we promise!

If you’re starting to play the guitar and finding that the wrist of your left hand hurts, then his video is for you. Kai looks at some simple approaches to using your fretting hand in a way that causes as little strain as possible. So you can practice without pain!

We get a lot of people asking what kind of guitar they should get to start playing flamenco. In this video we explain what makes a guitar a flamenco guitar, and what guitars are best for starting out your flamenco adventures!

The golpe is one of those quintessentially flamenco techniques - we hit the guitar with our nail or finger for a satisfying percussive thwack! In this video we take a quick look at the different kinds of golpes - when to use which and how they work.

I wrote my Granaína "Elegía" in memory of my Tio Manolo - Manuel de la Escalera Narezo, a man who lived an extraordinary life despite being one of thousands who were imprisoned and sentenced to death by the Franco regime during the Spanish civl war (spoiler: he wasn’t executed). A painter, sculpt...

In this video we look at how to practice compás once you have the basic concepts down. We start by looking at Soleá, though the the concepts apply to pretty much all Palos. At the 15:10 mark we get into practicing Bulerias compás, and at 22:52 we get into one of the very specific things that mess...

Learn the phrygian scale for flamenco guitar inside and out with several useful methods on how to install it into your brain and fingers - With some theory for fun thrown in (but not too much).

Accompanying Cante por Bulerias can be challenging at first, as you have to keep in compás while listening to the singer and making sure you’re playing the right chords at the right time. In this video Kai and singer Juan Murube show you what to expect and what to listen for as you get started le...

This is one of the ultimate Buleria Pro Tips - If you’ve ever wondered why flamenco players tap their feet in this way for Bulerias, or if you’ve just struggled to learn this, this video is for you! Kai explains why it’s so useful and shows you how to learn to keep yourself in compás simply by le...

In this video Kai and singer Juan Murube look at one of the most common Tangos letras you’re likely to run into. If you’re going to learn just one Letra, this is the one you want. There are many variations that use the same melody and structure but with different lyrics, so if you learn this one ...

Ever wonder why so many different chords in flamenco have the same name, or why we use so many versions of the same chord when accompanying Cante? In this video Kai breaks down the difference between a chord and a voicing and then shows you a ton of great voicings (chords) to use when playing Por...

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.

Most Palos have a Macho - a different kind of letra that happens at the end that either speeds up (often morphing into another Palo) or changes key. The Macho por Soleá that we look at here does both, and it's a pretty common one. So while we've been singing a Soleá, this Macho speeds up into a S...

In this video we get to the heart of accompanying por Soleá by looking at the letras. We break down the entire letra and also show you what to listen for so you can know what letra is coming and how to accompany it.

The Salida isn't technically a letra, but it's the first thing you'll have to play if you're accompanying a Soleá. In this video Kai and Juan discuss the Salida, show you some examples, and break it all down.

Sevillanas is the only Palo that in all of flamenco that has a fixed structure. In this video we break down how that structure works so you can better understand what all Sevillanas have in common, so that you'll always give dancers and singers exactly what they need.

If you're only going to learn to accompany one Sevillanas, A La Puerta de Toledo is a good place to start. It's by far the most commonly sung Sevillanas, and the chord changes are relatively simple. Once you've understood how this one works, any other Sevillanas you want to learn will be a matter...

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...

This compás loop is a very simple loop of the basic Seguirillas compás, with cajón and palmas. This version has a metronome to help you feel the pulse, which can get lost in Seguirillas due to the slightly different way we count. There is no variation in the compás, so if you can train yourself t...

This compás loop is a very simple loop of the basic Seguirillas compás, with cajón and palmas. This version has a metronome to help you feel the pulse, which can get lost in Seguirillas due to the slightly different way we count. There is no variation in the compás, so if you can train yourself t...

This compás loop is a very simple loop of the basic Seguirillas compás, with cajón and palmas. There is no variation in the compás, so if you can train yourself to hear the compás you should be able to lock in and get used to playing with the accompaniment of steady compás. It may not be the most...

This compás loop is a very simple loop of the basic Seguirillas compás, with cajón and palmas. There is no variation in the compás, so if you can train yourself to hear the compás you should be able to lock in and get used to playing with the accompaniment of steady compás. It may not be the most...