We look at some of ways you can use the basic material to accompany an Escobilla por Soleá when things speed up to a quick tempo of 180bpm.

We look at some of ways you can use the basic material to accompany an Escobilla por Soleá at a moderate tempo of 90bpm.

We look at some of ways you can use the basic material to accompany an Escobilla por Soleá as things start speeding up to a tempo of 140bpm.

Performance of a full Escobilla por Soleá. 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 and work with various footwork patterns and tempos.

Introduction to the Colombianas Palo and tutorial on playing variations of the basic compás.

Introduction and basic compás patterns for the Palo Peteneras, a 12-beat compás that is traditionally played Por Arriba. TAB/Notation for this can be found here: https://flamencoexplained.com/tabs-and-notation/

Really important words to know about when accompanying dance including escobilla, subida, cierre and llamada.

New Course Coming September 1st - Watch Intro Now. Welcome to Seguirillas Explained - Escobilla Edition, a course that features tutorials and Play-Alongs to teach you what you need to know to accompany the Escobilla section of a danced Seguirillas.

The Subida is when the dancer starts going faster, and in this video we look at how to hear that so that you're always in compás and we look at some right-hand patterns for going fast.

A performance followed by a Play-Along loop of a Subida in an Escobilla por Seguirillas. This is the slower of our two Play-Along Subidas.

An unaccompanied loop of a Seguirillas Escobilla danced at a constant tempo of 100bpm. This is a great place to start practicing your Escobilla material, as the tempo is very manageable.

An unaccompanied loop of a Seguirillas Escobilla danced at a constant tempo of 130bpm. If you feel comfortable playing your material at 100bpm, then this is the next step.

A performance of the traditional falseta and then simply keeping time for an Escobilla at a constant tempo of 130bpm.

How to hear and play the Llamadas and Cierres that you'll hear at the beginnings and ends of your Escobillas.

Performance of the traditional Escobilla falseta and of simple compás variations to accompany a Seguirillas Escobilla at a constant tempo of 160bpm.

A performance of various types of material you can use in an Escobilla, all played at a constant tempo of 100bpm. 100bpm is on the slow end of the range of tempos you might encounter, but a nice tempo for getting used to playing your Seguirillas in strict time.

We look at how to incorporate the traditional Escobilla falseta por Seguirillas and what to listen for in the dance to make sure you know where you are and where to start.

An unaccompanied loop of a Seguirillas Escobilla danced at a constant tempo of 160bpm. This is our fastest constant tempo loop, so be sure you're comfortable with your material at 130bpm before jumping in to this tempo.

We look at right-hand patterns for staying in compás and grooving while accompanying the Escobilla por Seguirillas.

Beyond the traditional falseta there are tons that will work nicely for accompanying the Escobilla. We look at a few, and at what makes them appropriate ones for the Escobilla.

A performance followed by a Play-Along loop of a Subida in an Escobilla por Seguirillas. This is the faster of the two versions of the Subida that we have.

This is another simple but powerful exercise to improve your string crossing. It’s a basic right-hand pattern - arpeggiating any 6-note chord voicing - where you play picado across all six strings to work on adjusting your hand (as opposed to your fingers) when playing across multiple strings.

A look at five moveable Major Scale patterns that together give you a good command of the Major Scale just about anywhere on the fretboard. The patterns are good for sale practice, but also one of the foundations of good fretboard knowledge.

José Antonio told me that when he was at the conservatory he and his friends would use this pattern as a warmup and to develop speed moving across string-sets. I agree that it’s a great warmup, and also great for working on more complex right-hand patterns.