Flamenco Explained is: a book, video tutorials, a philosophy.
Kai Narezo takes the intimidation out of learning to play flamenco guitar - for fun and alongside the art with dancers and singers. Join in on the juerga with Kai and other guitarists, dancers and singers in our online community both for free and subscribed video tutorials and method book lessons.
Flamenco Explained - The Guitarist's Survival Guide, is the first book that breaks down the inner workings of flamenco and helps the guitarist truly understand this amazing art form. Flamenco Explained presents the underlying architecture of flamenco in a new way that is accessible to all musicians and prepares the aspiring guitarist to accompany flamenco dance and cante and communicate with other flamenco musicians. Flamenco Explained has already been used as the foundation for Berklee College of Music's first ever flamenco guitar class.
Friday Falseta - Tangos Por Arriba Falseta by Kai Narezo - SLOW/LOOP
Tangos can be played in many keys, and after Por Medio, the most common other key is Por Arriba (E Phrygian), the key that Tangos de Granada is often played in. Here’s a fun falseta that can be played as written, but also has a lot of moving parts that you can use as shorter falsetas or simply to...
Friday Falseta - Colombiana Falseta #1 by Kai Narezo - SLOW/LOOP
This intermediate/advanced Colombianas falseta follows a more or less traditional chord progression you’ll want to be familiar with when playing Colombianas. You can use our Tangos compás loops to practice this one: https://learn.flamencoexplained.com/compas-loops/season:5
Friday Falseta - Guajira Falseta #2 by Kai Narezo - SLOW/LOOP
Here’s an advanced Guajiras falseta that works at both faster and slower tempos and involves quite a few little scale bursts for you to work on. Could also work as a somewhat rubato intro at a slower speed.
Friday Falseta - Tangos Traditional Line Cliche by Kai Narezo - SLOW/LOOP
A line cliche is when one note within a chord moves by half-steps. The second half of this falseta features a line cliche on the D minor chord where the bass note moves down from the note D on the fifth string. This is a traditional figure that you’ll probably recognize more once you learn to pla...
Friday Falseta - Alegrias Escobilla Variation by Kai Narezo - SLOW/LOOP
Here’s a fun fasleta that’s relatively straightforward and will add variety to your Escobilla por Alegrias. The right hand is all P-M-A and the melody is mostly scale wise motion, using an E Major scale in the 6th position. It’s almost all triplets, so once you have the right hand down it’s all a...
Friday Falseta - Bulerias Falseta Por Fiesta by Kai Narezo - SLOW/LOOP
I say this one is good Por Fiesta because it’s all thumb so you can play it loud and, once learned, should be playable at quick speeds. Watch out for those pickup notes at the beginning, though, as it starts just after beat 10.
Friday Falseta - Seguirilla Faster Escobilla Falseta by Kai Narezo - SLOW/LOOP
This Seguirilla falseta works best at faster speeds, making it useful for Escobillas or any other time you need a fast-tempo falseta. You’ll want to watch out for the compás, and also for the left hand, which needs to leave space for adjacent open strings to ring. As always, simple doesn’t mean e...
Friday Falseta - Alegrias Slur Falseta by Kai Narezo - SLOW / LOOP
Played slow and looped: a short but tricky Alegrias falseta that will really work both your left hand and your compás. In addition to some 16th note slurs that include a lot of pinky action, the phrases don’t quite resolve where we would expect them to. Once you’ve learned the notes, make sure yo...
Bulerias Explained - Level 3 - Thumb Falseta by Paco de Lucia - TUTORIAL
We had to include at least on Paco de Lucia falseta in the course, and this one seems to have been one of Paco’s favorites, given how often he played it. There’s a lot going on, both rhythmically and technically, so take this one slow and make sure you understand where each phrase starts and stop...
This 2-compás passage seems to confuse just about everyone at first, so we break it down in a way that should be easy to follow. Take it slowly and pay attention to the details and you can be one of the ones who gets it right!
Played at 140bpm and looped. While perhaps not technically a falseta (there’s no real definition that I know of, but this feels like a bit less than a falseta), this is a great little bit to throw in between falsetas or after the singer has finished a letra. Check out the way the melody connects ...
This picado falseta by Enrique Melchor features both the symmetric diminished scale, which is a staple of modern flamenco, and diminished arpeggios, which are somewhat more traditional. You may find you disagree with the fingerings given, which is fine if you find an easier way for you to play th...
Bulerias Explained - Level 3 - Picado Falseta by Moraíto - PLAYED SLOW & LOOPED
Played slower at 140bpm and looped. Not only is this a great-sounding Bulerías falseta, it’s also a fantastic picado burst exercise. It also features some interesting phrasing and syncopation, so stay focused!
Bulerias Explained - Level 3 - Thumb Falseta by Paco de Lucia - SLOW & LOOPED
Played slow at 140 bpm and looped. We had to include at least on Paco de Lucia falseta in the course, and this one seems to have been one of Paco’s favorites, given how often he played it. There’s a lot going on, both rhythmically and technically, so take this one slow and make sure you understan...
Bulerias Explained - Level 3 - A Minor Falseta by Sabicas - PLAYED SLOW & LOOPED
Sabicas was famous for his minor Bulerías, and this may be his most famous falseta of all. It’s almost all picado in eight notes, and the phrases start on beat 1 and 7 instead of the more common beats 12 and 6.
Bulerias Explained - Level 3 - Good For Intro Falseta by Kai Narezo - SLOW/LOOP
This Bulerías Falseta combines arpeggio, picado, thumb and some left-hand stretches into a somewhat longer falseta than we’ve seen. It can be used as an introduction but also works anywhere else you’d play a falseta.
Bulerias Explained - Level 3 - ArpegScaleThumb Falseta by Kai Narezo - SLOW/LOOP
This Bulerías falseta starts out with a Major 7 sound (the Vicente Amigo influence) that combines arpeggio and picado, but it ends with a driving thumb figure that changes the energy of the falseta - and that can also be used on its own.
Bulerias Explained - Level 2 - Arpeggio Falseta by Viejín - PLAYED SLOW & LOOPED
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.
Bulerias Explained - Level 2 - Syncopated Falseta by Kai Narezo - SLOW & LOOPED
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.
Bulerias Explained - Level 2 - Thumb Falseta by Kai Narezo - SLOW & LOOPED
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.