howtoplaytheflamencoguitar

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🔥My Flamenco Arpeggios Mini-Course: https://www.LearnTheFlamencoguitar.com This lesson is set to be an exciting one…and an interesting one too! What you will learn in this lesson is how to play the Andalusian cadence in the compás of rumba anywhere on the guitar neck!

In this four-part lesson series, I will show you how to play barre chords within the Andalusian cadence chord progression even when you think you may have run out of frets! This is a valuable skill to have as a flamenco guitarist, especially when you encounter occasions when you are jamming with another musician who is playing in an unconventional key—at least from from a guitarist’s perspective. Watch the videos tutorial and you’ll understand exactly what I mean. Enjoy!

I’m very excited to share with you this mega-ultra-awesome flamenco/Spanish guitar scale in E minor, which is so intense that it will give you HULK HANDS after you’ve mastered it!

What’s this scale called? Well, I call it the “Escala de Gerardo” (Gerardo’s Scale), because I always heard that it was written by Gerardo Núñez; it may or may not have been written by him, but I think it sounds like his style.

Anyhow, follow this lesson along closely. Watch it as many times as you need in order to get this scale in your flamenco guitar toolbox PRONTO!

Once you’ve gotten to the point where you can do this exercise at 120 beats per minute, you’ll be a bonafide flamenco guitar beast!

…And you will have learned your way through the Aeolian scale like a pro!

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In this lesson, I want to show you a very popular falseta for the compás of Soleares; it’s a rather basic falseta—that is, “basic” to the extent that its a falseta that most flamenco guitar players learn when they are first learning Soleares; it’s also basic in the sense that its a bit of a stock falseta, but the truth about this falseta is that it is a very good exercise for the thumb—including rapid movement and alzapua.

…But, we are we are going to attempt to make this falseta sound less basic by adding some nuances like rasqueado just before the first beat. We’ll also ad a accented golpe on the 3rd and 6th beast to really emphasize the rhythm. Enjoy!

👉🎸TABs 🎼 for this lesson: https://www.Patreon.com/Flamenco4U
👉FREE Flamenco Guitar MiniCourse: https://www.LearnTheFlamencoguitar.com

🎸TABs 🎼 for this lesson: https://www.Patreon.com/Flamenco4U
FREE Flamenco Guitar MiniCourse: https://www.LearnTheFlamencoguitar.com

Have you ever wanted to learn a beautiful-sounding falseta (riff) on the guitar that has that signature Spanish or Flamenco sound? Well, in this lesson I’ll show you how to play a falseta in A minor that you’ll not only enjoy playing, but will have others captivated as they listen to you!

I like to play use this falseta at the beginning of a rumba in A minor, but practically speaking, you can use this falseta for any palo (song form) in the flamenco repertoire, just so long as it’s in the key of A minor.

If you have a friend playing along with you, then this falseta will sound even more amazing if he or she is playing a series of repeating rasgueados in Am, G, F7, and E(b9) while you play the solo. Enjoy!
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In this fourth lesson on how to play the “Danza Mora,” you’ll get the chance to use your octave skills again, and you’ll learn a beautiful arabesque legado falseta.

Get ready, because there will be many adventurous slides up and down the neck on this one!
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If by chance you are a finger-style guitar player, or have had some experience with finger-style guitar playing, then lesson # 3 for “Danza Mora” will be right up your alley!

You will be using octaves between the first and fourth strings for your melody while accompanying that melody with some running eight-notes on the bass strings.

(For an introduction to the most effective use of octaves, please watch these two videos:

Octaves Video #1

Octaves Video #2

Towards the end of the section, you will repeat some rapid legado movements between fingers one and four while striking those--somewhat haunting--arabesque bass notes.

I want you to pay particularly close attention to the aforementioned legado by holding tightly to the first fret before finally letting go to the open position, and make sure to use a metronome while you practice this section! I know you’ll really enjoy this one!

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You’ve done it! You’ve now reached the final part of this lively rumba piece for the flamenco guitar. Bravo!

...Now we will take our basic rumba strumming pattern using a slap on the three-beat while moving some of the other beats around between the neck and the saddle.

On the one-beat, go ahead and thump your middle finger (m) and your ring finger (a) along the saddle for a kick-drum effect. Next, while strumming the beats in between, move your right hand over frets 15 and 18 for a slap. Increase your speed and dynamic intensity as you approach the picado section. Finally, finish out the piece with an olé!

As always, remember to take it slow, paying close attention to what you are doing, which means you should be listening to what you are playing. Enjoy!

Hold on tight to your fretboard right now because we are about to ramp it up! Fair warning: You may find this lesson particularly challenging because it will incorporate three guitar techniques that are actually some of the hardest ones to get the hang of…at least at first try!

For this lesson, you will be using (1) barre chords (cejillas); (2) golpes (finger tapping); and (3) picado (rapid playing finger movements).

All these aforementioned techniques involve the right hand. So, once you get familiar with all the chord shapes, which are as follows: Am, D7, G7, C7, F7, Bb7, Esus4, and E7, you can then begin redirecting your focus to your right-hand playing techniques.

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As we continue our lessons on the rumba flamenca in A minor, we have now come to a section where we are doing something really interesting and fun with the rhythm! You’ve seen in previous lessons how to play the Andalusian cadence in A minor using barre chords (cejilla); in this section we will interject new barre chords between each of the Am, Gmaj, and Fmaj chords—you’ll see what chords those are in the lesson guide and the video.

We will also employ a lot of rasgueado work with the right-hand playing fingers in between each of the chord changes. This lesson may seem challenging at first, but just like with every new falseta you learn, start out slow, pay close attention to the lesson guide, and stick with it! Once you’ve memorized the chords shapes and the right-hand patterns, then begin using a metronome at a slow tempo and build up.

This is the second installment of our multi-part series on “How to Play Entre Dos Aguas,” I will show you how to play the second rhythm guitar part. If you’ve already watched Lesson #1 for this series, you might notice that the first half of the song—as far as the chords and right-hand strumming patterns are concerned—is quite different than the first rhythm guitar part.

For this second rhythm guitar part, I will show you how to execute a palm-mute rhythm technique on the fourth-beat—don’t know what exactly I’m talking about? Don’t fret (pun intended)! Just watch this helpful tutorial to see the step-by-step instructions on how to play this really cool rumba flamenca rhythm!

Now, as for the second half of the song, it should sound quite familiar to you if you’ve already reviewed the first rhythm guitar part, because it’s virtually the same, just with some differentiating nuances.

Don’t forget to download your TABs and standard notation to follow along!

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Recently, I received a request from one of my Oro-Tier Patrons for the rumba flamenca classic, “Entre Dos Aguas,” by Paco de Lucía; and I’ll have to admit that I’ve been wanting to do a video lesson on this particular song for a long time!

…So what better time than now?

Paco’s sister said in an interview for the documentary, “Light and Shade,” that when Paco recorded “Entre Dos Aguas,” it “just went BOOM!”

…And today, this amazingly performed song by Paco is still going BOOM!

I’ve decided to break up this lesson into a series of digestible video tutorials, so that we can cover the two rhythm guitar parts and the lead guitar parts.

In this first episode, I go over, in as much detail possible (in less than 15 minutes) how to hold the chords and hold the rhythm as well.

I hope you enjoy this lesson! Now go and pick up your guitar! ¡Vamonos!

Here's the link to the finger nail shaping video I refered to: https://youtu.be/R32mmUHCJDk

In this week’s lesson, I am going to teach you a beautiful chord progression from the beginning section of “Será Verdad,” by El Maestro from Córdoba, Vicente Amigo! This is Part I of a series for this song.

…Just a side note, you may notice that I repeat a phrase an additional time than the original recording; this was done in order to give you more practice on this particular part. Enjoy!

Have you ever wondered how guitarists make simple melodies come alive with chords? Have you ever wanted to take a simple song-line and be able to accompany it with chords?

Well, in this flamenco guitar lesson, I’m very excited to show you how to compose your own rumba! First, we’ll start out with a simple melody line. Next, we’ll listen closely to the melody to figure out which chords we’ll need to use. Lastly, I’ll show you how to add the correct rhythm and chords along with the melody so that you can accompany yourself so well that it will sound like two guitars are playing!

So grab your guitar, a pen and paper, and follow along carefully. While you’re at it, get a friend to join along with you during this lesson so that you can help and encourage each other on the journey! Let’s go! ¡Vamonos!

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Now that you’ve been exposed to the basic rumba rhythm (from previous lessons), and now that you’ve learned at least one or two falsetas for the rumba n A minor, now I want to teach you three fiery falsetas in one lesson!

There will be a lot of thumb-work involved in this lesson, as well as a lot of rapid movement with the index finger.

Finally, you’ll learn an exciting and fast apoyando (alternating finger) technique run-on that nicely wraps up these three combined falsetas into a solid remate (finishing) sequence!