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.

A movable form of the Major7 Arpeggio with its root on the sixth string, this little pattern is great one for warmup and for working on string crossing across all six strings. It’s also another little bit of fretboard knowledge if that’s new to you.

Work on the two ways of planting you left hand for Arpeggios with this traditional bit of Tangos Arpeggio. The material is pretty simple, but learning to groove it well is key for playing a grooving Tangos compás, and deciding how you eat to plant is a big part of building a solid Arpeggio here.

This is the Ultimate Lots-Of-Notes Scale. By combining three chromatic scale patterns - single-string, open position and moveable - we create six different ways to play a three-octave chromatic scale. You’ll also be able to play chromatic scales anywhere on the neck by using various combinations ...

A minor scale passage I like to use either as a warmup or as a speed building exercise. We look at the scale in open position, and then in a moveable form that can be played with or without a bar.

I used to hear guitarists in the Caño Roto barrio of Madrid work on this one all the time. It’s basically a synchronization exercise for Picado that can either be played very comfortably or extremely uncomfortably.

Not actually a Chromatic Scale, but it sort of looks like one. This exercise is great for improving your finger independence while barred. And by taking the concept and changing the left-hand fingerings, you can make lots more exercises out of this one.

The traditional Alegrias Escobilla falseta is basically a ton of Arpeggios, so use that as an exercise while you developing solid planting, both full and sequential. And you can use exactly the same melody to work on your 16th PAMI Arpeggios or your sextuplets.

We look at a basic exercise for working on your PAMI Arpeggios - probably the most important Arpeggio in flamenco - and at both Full and Sequential Planting.

This little Tangos passage is good for your Arpeggio or for your Picado, but it’s even better as an exercise for transitioning between the two.

If the "Grisha Exercise" is good for you, then why not take it one step further and play it all barred? This is basically the same exercise, but rather than playing in open position you play it barred, getting all of the benefits of the original exercise, with the added "complication" of keeping ...