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 Alzapua falseta is relatively simple but has one new feature, which is that rather than start on beat 12 it starts on beat 11. Thinking of beat 11 as a pickup to a downbeat on beat 12 can help make this feel more natural.

This arpeggio falseta features some beautiful chords - and melodies within each chord - as well as some tricky syncopated anticipations of the downbeat of each phrase. You can also play the chord progression with rasgueados rather than arpeggios, or you can do both, as we do here.

Probably the most jubilant falseta in the whole Bulerías course, this one has some interesting staccato syncopation at the beginning, and continues to some syncopated versions of otherwise traditional phrasing.

This Bulerías falseta - which can also be thrown in as a “detalle” (literally a detail, this can be a short flourish or something less than a falseta that you throw in somewhere) - features a great thumb and index technique that’s unique to flamenco, as well as a different kind of 6-beat phrase.

A picado falseta that is phrased in 8th notes, which each phrase starting on beat 12 and ending on beat 6.

A relatively simple falseta that is traditionally phrased with 8th notes starting on beat 12 and ending on beat 6, until the final longer phrase which starts on 12 and end on beat 6 of the next compás.

This Bulerías falseta starts on 11 and then goes on to a phrase that’s one and a half compáses long. The repeat features an extended ending with a very syncopated rhythm, and the falseta ends on 10.

A simple but very effective intro for Tarantas that features a lot of the “connective tissue” ideas at the end, this one is also taken from Paco’s ‘Tarantos Populares,’ but is played as Taranta and not in strict Tarantos time.

One of my falsetas that I use as an intro, this one features some advanced arpeggio patterns and a bit of alzapua and thumb at the end. It’s really two falsetas joined together, but since I almost always play them as one I thought I’d present them that way here.

A longer and somewhat more lyrical Falseta of mine that features a couple of left-hand stretches and little bit of a bunch of other techniques.

A fun picado falseta of mine that ends with some tricky coordination between the two hands that sound quite powerful when you get the hang of it.

A picado falseta of mine that features some long runs at the beginning and a bit of thumb towards the end.

Inspired by Paco de Lucia’s “Tarantos Populares” recording, this is a simple Tarantos falsetas that uses employs standard thumb technique as well as some thumb/index alternation.

A more modern approach to the Tarantos Escobilla, you can think of this chord progression and arpeggio pattern as a jumping-off point for all sorts of Tarantos Escobilla material or play it as-is.

This is one version of a very traditional Escobilla for Tarantos. As I explain in the video, there are many (sometimes weird) ways of playing this falseta for dance, but the essential melody remains the same, and you can use any variation for solo guitar.

Performance of Kai's Seguirilla falseta that he wrote for dance, but that also works well for solo guitar or Cante intro.

Friday Falseta - Tangos - Tomatito Falseta - Performance

Performance of three short falsetas by the maestro Sabicas. They can be played together or as individual fasletas.

Performance of a really lovely arpeggio falseta that works as an intro or as a lyrical interlude for dance or solo guitar.

This Tientos falseta by Enrique Melchor uses all thumb technique and can be played to equal effect whether in strict time or in the more loose ‘plastic’ Tientos feel.

Friday Falseta - Hated Solea Slur Falseta - Performance

Friday Falseta - Soleá Falseta for Dance - Performance

Friday Falseta - Alegrías Falseta Minera Chords - Performance