A super useful Chord Progression Falseta for Alegrias in the key of E Major. It’s pretty essential to have one or two of these for each Palo, and I write about why I like them so much, and ways you can make them your own, in this blog post - https://flamencoexplained.com/education/is-a-chord-prog...

A super useful Chord Progression Falseta for Bulerias Por Medio. It’s pretty essential to have one or two of these for each Palo, and I write about why I like them so much, and ways you can make them your own, in this blog post - https://flamencoexplained.com/education/is-a-chord-progression-a-fa...

A super useful Chord Progression Falseta for Alegrias in the key of E Major. It’s pretty essential to have one or two of these for each Palo, and I write about why I like them so much, and ways you can make them your own, in this blog post - https://flamencoexplained.com/education/is-a-chord-prog...

A super useful Chord Progression Falseta for Bulerias Por Medio. It’s pretty essential to have one or two of these for each Palo, and I write about why I like them so much, and ways you can make them your own, in this blog post - https://flamencoexplained.com/education/is-a-chord-progression-a-fa...

An intermediate-level Guajiras falseta by the great Sabicas, this one has one little twist - an “extra” 6-beat scale at the beginning, that we look at a few ways to deal with.

An intermediate-level Guajiras falseta by the great Sabicas, this one has one little twist - an “extra” 6-beat scale at the beginning, that we look at a few ways to deal with.

An Intermediate-level falseta for the Bulerias de Cadiz (the Bulerias at the end of an Alegrias). If you’re going to be accompanying danced Alegrias, this is a good one to have in your back pocket in case you get a chance to play a falseta during the Bulerias.

An intermediate-level Guajiras falseta by the great Sabicas, this one has one little twist - an “extra” 6-beat scale at the beginning, that we look at a few ways to deal with.

An Intermediate-level falseta for the Bulerias de Cadiz (the Bulerias at the end of an Alegrias). If you’re going to be accompanying danced Alegrias, this is a good one to have in your back pocket in case you get a chance to play a falseta during the Bulerias.

An Intermediate-level falseta for the Bulerias de Cadiz (the Bulerias at the end of an Alegrias). If you’re going to be accompanying danced Alegrias, this is a good one to have in your back pocket in case you get a chance to play a falseta during the Bulerias.

Here's and advanced Seguirillas falseta hat works nicely for dance. It's starts out pretty straight, but then gets very syncopated in the middle and ends with a groovy compás variation.

Here's and advanced Seguirillas falseta hat works nicely for dance. It's starts out pretty straight, but then gets very syncopated in the middle and ends with a groovy compás variation.

Here's and advanced Seguirillas falseta hat works nicely for dance. It's starts out pretty straight, but then gets very syncopated in the middle and ends with a groovy compás variation.

An advanced Tangos Falseta by Enrique Melchor that features a bit each of Arpeggio, Picado and Alzapua. Tutorial

Played slow and looped - An advanced Tangos Falseta by Enrique Melchor that features a bit each of Arpeggio, Picado and Alzapua.

An advanced Tangos Falseta by Enrique Melchor that features a bit each of Arpeggio, Picado and Alzapua.

A full danced Escobilla for you to play along to. First we show you an example of how you might accompany, then it's up to you to use the material you have to accompany the dance.

First we give you an example of how you might accompany this Subida, then it's up to you to use the material you have to play along.

A loop of some Escobilla at the constant tempo of 180bpm, which is pretty fast. Get used to playing your basic material straight and simple first, and then see what material works at this speed and what patterns feel comfortable for you.

A performance of some Escobilla por Soleá at a constant tempo of 70bpm - our slowest tempo. The idea is not for you to learn this particular accompaniment, but rather for you to see how the basic material and all of the right-hand patterns can be manipulated to work when accompanying at a tempo l...

We look at some of ways you can use the basic material to accompany an Escobilla por Soleá at the very manageable tempo of 70bpm.

A performance of some Escobilla por Soleá at a constant tempo of 90bpm. The idea is not for you to learn this particular accompaniment, but rather for you to see how the basic material and all of the right-hand patterns can be manipulated to work when accompanying at a tempo like this.

A performance of some Escobilla por Soleá at a constant tempo of 110bpm. The idea is not for you to learn this particular accompaniment, but rather for you to see how the basic material and all of the right-hand patterns can be manipulated to work when accompanying at a tempo like this.