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.

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.

Picado is the flamenco technique for playing scales.

A way of playing the guitar percussively with the strings muted.

Palos are the styles or forms in flamenco, such as Soleá, Buleria or Fandango.

Palmas are the handclaps that serve as the rhythmic backbone of flamenco. You'll want to practice your palmas as much as possible!

When there is no rhythm in flamenco we call this Libre. Most all of the Libre Cante comes from the Fandango family and includes the Fandango, Taranta, Granaina, Malagueña and more.

When a piece/song/dance changes key or tempo at the end we call the the Macho. For example, the Tangos are the macho of Tientos and the Rumba is the Macho of Tangos.

Literally a "lift', a subida is a quickening of tempo, which can be gradual or sudden.

Either a style of dancing or simply playing Por Medio on the guitar.

Solea is the oldest of the flamenco forms and having a good understanding of Soleá will help you in all aspects of flamenco. Plus, it's traditional for guitarists to start here. This solo covers all of the essential concepts and techniques that we will look at in other videos.

Solea is the oldest of the flamenco forms and having a good understanding of Soleá will help you in all aspects of flamenco. Plus, it's traditional for guitarists to start here. This solo covers all of the essential concepts and techniques that we will look at in other videos.

The tonic is the first note of the scale used to build a piece of music. This note, and corresponding chord, gives us a sense of resolution in music. We often refer to this as "home base." For example, in the key of A, the root of the main chord is A, therefore the tonic is A.

Flamenco strumming - any time you use the back of the nails of your fingers (not the thumb) to play a note.

Flick out each finger as if you are flicking a bug off your knee. We are trying for individual, percussive, and rhythmic strokes with each finger, rather than just unfurling your finger...

In this lesson we look at Rasgueado technique in the context of Soleá and Tangos. We break down how to use your right hand to get power and precision while staying relaxed. This is an essential lesson for beginners or anyone who wants to improve this technique that is so central to flamenco guitar.

This lesson shows you how to use your triplet rasgueados for llamadas in Tangos. This is a great way to both practice your rasgueados and solidify your Tangos compás.

The triplet rasgueado (abanico) isn't that hard to do, but you have to take it slowly! This lesson breaks it down so that if you have a bit of patience you'll be able to play fast, loud triplets consistently and with control.

This lessons explains how and why we use golpe and gives you a few examples to practice. If you don't have a golpeador (tap plate) on your guitar this is the moment when you decide how committed you really are to this whole flamenco thing. Also, there may be blood...

This is a really important lesson, since thumb technique is crucial to the sound of flamenco guitar. Here we look at how to use the thumb efficiently to get that loud, percussive flamenco sound when using the thumb.

An introduction to rest-stroke scale technique (picado) as we use it in flamenco with some great exercises to make you faster, more accurate and more in control.

Arpeggio is one of the foundational techniques for the right hand in all guitar playing. Here we look at the principles of good arpeggio technique and look at some simple exercises to solidify this technique, including a bit of the Villa-Lobos Etude #1 that just about all flamencos use for arpegg...

In this lesson we break down basic Alzapua technique and use simple falsetas in Soleá and Tangos as studies to practice and perfect coordinating the two hands. Then we look at some of the more advanced ways that we coordinate the two hands to fly!

This short Tangos solo features a lot of compás and three falsetas that cover arpeggio, alzapua and picado techniques. You can learn it as played or you can think of it as a template for dropping in new falsetas and compás variations as you learn them.

This short Tangos solo features a lot of compás and three falsetas that cover arpeggio, alzapua and picado techniques. You can learn it as played or you can think of it as a template for dropping in new falsetas and compás variations as you learn them.