Tarantas Explained is an advanced level course that explores and explains Tarantas, one of the Libre Palos. Tarantas has one of the most distinctive sounds of any Palo in flamenco. In this course we look at getting around in the ‘key’ of F# Phrygian, and we look at how to flow from falseta to falseta in a Palo that doesn’t have compás as its underlying structure (which will help you understand how to navigate any of the Libre Palos). And of course we look at some challenging falsetas that feature quite a bit of arpeggio, picado and thumb technique. Course material can be found here: https://flamencoexplained.com/tabs-and-notation/
In this video we talk about what Taranta and Taranto are, what’s the difference, and what a Palo Libre is all about.
We look at two techniques you’ll want to become familiar with before diving in to Tarantos or Tarantos and we also take a quick look at two ways to play the F# Phrygian scale.
In this video we look at some of the important chord voicings commonly used in for Taranta and Tarantos to give it that distinctive sound.
In this video we look at many of the most important figures used to connect falsetas Por Tarantas. As we don’t have compás to guide us, we have to learn a new way to connect our material. Here we explore the many little melodic bits traditionally used to do this.
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.
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. This is played slow and looped several times.
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.
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. This is played slow and looped sev...
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 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. This is played slow and looped several times.
A picado falseta of mine that features some long runs at the beginning and a bit of thumb towards the end.
A picado falseta by Kai Narezo that features some long runs at the beginning and a bit of thumb towards the end. This is played slow and looped several times.
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 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. This is played slow and looped several times.
We wrap up the course by looking at how to put together a Tarantas guitar solo using all of your new material and adding in any other material you learn along the way.
