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

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.

A fun falseta that can also be used a tag for something else, this one starts just before beat 12 and features quite a bit of thumb technique as well as some precise left-hand movement.

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...

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...

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.

This Tangos falseta features a very common alzapua burst and quite a bit of left-hand / right-hand coordination to make it sound its best. Also, watch out for the rhythm change from 16th to 8th notes.

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...

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...

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...

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!

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...

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.

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.

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.

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.

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

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.