In this video we look at most important elements of Tangos - the basic compás and Llamadas/Cierres - and in particular we look at a variation of the two-finger rasgueado that is traditionally used to play the compás. This will form the foundation of everything you do in Tangos, so take your time ...

Here we look at the 12-beat compás in the context of Soleá. This is one of the most important lessons on this site, so even if you think you now this you might want to start here for review.

Watch this to see what we'll be covering in the Solea Compás examples tutorial.

Four Sevillanas in four different keys (E, A, F# and B phrygian). These Sevillanas are pretty advanced both technically and rhythmically, so you may want to review the Traditional Sevillanas tutorial before tackling this.

This is a great traditional Silencio - the slow lyrical section of the danced Alegrias. If you don't have a Silencio yet this is a great one to have, and it's a nice picado study, too.

This is a great traditional Silencio - the slow lyrical section of the danced Alegrias. If you don't have a Silencio yet this is a great one to have, and it's a nice picado study, too.

In this lesson we break down the compás for Alegrias - a 12-beat compás that's faster than a Soleá but not as fast as a Buleria. All of the right-hand patterns here also apply perfectly to Soleá por Buleria.

This Bulerias guitar solo features a bunch of Kai's falsetas which cover some really important aspects of Buleria phrasing and a lot of techniques including, thumb, picado, arpeggio, alzapua and rasgueado. This one gets a little syncopated!

There's nothing else in flamenco guitar that is more confusing to guitarists learning Buleria. It's a little confusing at first, but we have a trick to teach your right hand to keep it under control.

Watch this to see what we'll be covering in the Buleria 1 Guitar Solo lesson or to refresh your memory once you've gone through the lesson.

Start here if you're ready to dive in to Bulerias. The better you train your right hand to stay in compás regardless of what the left hand is doing, the better and more reliable your compás will be.

Bulerias often goes into a 2-feel compás that can last for a while. Here we look at how stay on top of that groove and one of the more traditional 2-feel Buleria bits that I generally associate most with Moraito and Tomatito, though really they're quite traditional.

A really quick introduction to the basic flamenco forms, including Soleá, Soleá por Buleria, Buleria, Tientos, Tangos, Rumba, Alegrias, Seguirilla, Guajiras, Farruca, Colombiana, Taranto, Taranta and Fandango de Huelva. Not all of the Palos, but a good intro to some of the more common ones.

In this lesson we look a how one compás flows into the next and also how parts of a compás can flow into one another - basically how flamenco works. This is crucial for improvising in flamenco.

Here we look at how the concept of compás works as well as some of the various meanings of this word that is so very central to flamenco.

In this lesson we look at how contratiempo works and how to practice playing the contra without getting lost!

The hardest part of doing palmas for Seguirillas is really understanding the Seguirillas compás, so here we look at both.

Here we look at a bit of technique for palmas and then look at the various patterns we use for some of the more common Palos, including Soleá, Soleá por Buleria, Buleria, Alegrias, Seguirillas and more.

Start here for your palmas - this lesson looks at the basic palmas patterns for Soleá. Much of this will be the foundation for all of the 12-beat compases.

The Palmas are the underlying structure of any Palo, so the better you know them the better you’ll feel the compás. We can’t recommend strongly enough that you spend some time with the Palmas as you learn to play compás por Tangos. As you learn to feel the Palmas you will begin to feel more free ...

This is what you've been working towards - palmas patterns for Bulerias. It's a lot like the other 12-count patterns, but a lot faster!