YOUR COPY OR READ MORE ABOUT THE DVDS!!! ]]>
Check out this sample video to see some of the cool flamenco styles you’re about to learn!
]]>Here’s a small taste of the “Tangos” form.
You will also get all the tabs when you buy your copy of these DVDs 
A lot of is really hard in the 3rd G key.
So this would be the 3rd G key por medio.
And the 3rd G key por arriba would be A-minor,
G-7, F, E-major. So if I were to do a tango,
which is generally done in por medio, that would be here.
So let’s work, then, a little bit on the rhythm
of the tango and how the hand, the fingering
and what you have to do with your right hand
to do a tango.
I’m going to give you three or four —
I’m going to give you even more —
five or six different variations of tango.
Basically it’s one, two, three, four.
This is the skeleton. So, again, one more time.
One, two, three, four; one, two, three, four;
one, two, three, four.
Now, a lot of times when we play this G,
the stay here, we can manipulate it because
this is really a G-diminished.
So you can bend it and play it with this
note here, the A-sharp. So that was one
way of playing a tango.
Another way within the rhythm of
four-count for a tango would be…
Or…
]]>Notice the use of “falsettas” – little melodies that you play
in between the chords.
When you buy your copy of “Flamenco Guitar Secrets”, you’ll
get the tabs to all of it…
Check it out:
They’re all the different keys.
Most of the stuff I’m going to show you
are going to be in this key of A-minor
going to E-7. Okay?
So the first one I want you to learn with falseta.
Falseta are the little soloings. Not all sevillanas
there’s going to be chords like this.
That would be… If you have a singer, then the
singer would be singing the melody and you’re
obligated to play these chords. But if there’s no
inger and you’re playing by yourself or for
a dancer, you need to play the melodies also.
So let me show you one that I’ve written, I made up,
and we have the tablature for it. Then we’re going
to slow it down and go over it. Here’s the first one.
Verse two.
Verse three.
That is one sevillana. That was consistent of an
introduction and three verses separated by intro
coplas on each one, and then a melody that I
played on the verses.
So let’s go over the introduction, what I played
as far as the solo went. That was this, all pengata
[phonetic – 01:58].
Pengata [phonetic 0-1:59] is when you play with
your thumb going down, like this.
Here is another sample from “Flamenco Guitar Secrets”…Still on the technique section, lets cover another Essential Technique called Rasgueado.
In this Guitar Control video lessons, were going to talk about “Rasgueados”. That’s the fan motion of the right hand and there are
several forms of them.
One form would be this, where we use A finger, M finger, I finger and then you come back with the I finger. And that is done by putting your thumb always on the 6th string.
A lot of my exercises are done on this particular chord, called B-diminished, or E7 flat in line. This is how you figure that out E-7, and a full E7, and flat in line would be this note, is flat in line. The reason I use this chord is because the chord moves down pretty easily and sounds pretty good.
A lot of these exercises, when you do them, you should tap your foot with them. In that way it makes the rhythm stronger and that’s what you need to flamenco. You need to have a very strong rhythm, especially if you’re planning to work with a dancer.
Here we go 1, 2, 3, and 4, 5, 6 and 7, 8, and 9 and 10, 11 and 12. Second variation 4, 5, 6 and 7, 8 and 9, and 10, 11, and 12. That’s a “Three Finger Rasgueado”.
What is happening here is a lot of wrist motion. I’m going up with my thumb, and opening my hand using these two fingers, the middle and the A. So, again, one, two; and you’re going to notice, the thumb needs to be on top of the string now to do the third motion, and that is a wrist motion on three.
Another triplet would be a “Two-Finger Rasgueado”. That would be up, your thumb needs to be here, up with the index, down with the A, down with the I. Again, one, two, three. Notice, we don’t use this finger. As a matter of fact, I would leave it out. If you tuck it in all the way, it’s going to get in your way.
One, two, three. See, it’s out. It wants to go back in, but I’m not taking it all the way in. Up, down, down; up, down, down; up, down, down. And that’s a light triplet as opposed to a heavy one, like this one. That is if you’re playing solo and then you’re playing like a chorus.
This is good for like stuff like sevillana or tangos, you know?
Best of Pentatonic Scale Lessons to Play
For Flamenco, you have to learn a few new guitar techniques. One of them is called Picado. This is the first one to learn. Check out the video! It’s a short sample from “Flamenco Guitar Secrets”.
The first thing I want to show you is picado. That is the alternating movements of the index finger and the second finger, your middle finger.
So the picado’s are done — that’s like when you do soloing, it’s alternating movements of your index and your middle finger. A few things to remember about that is number one, when you do picado you should have your thumb sitting on the 6th string all the time. As a matter of fact, 90% of the time when you’re doing flamenco, you should have this thumb sitting here on this string.
If you’re going to be using this string, then your thumb should go up about a centimeter, maybe perhaps the same distance between one string to the other string, on the wood, and play here. But anyway, picado’s are done like this. So that is index, middle; index, middle; index, middle. Always, alternate. It’s like walking. Right foot, left foot; right foot. You don’t hop on one leg, do you?
It’s just the way it’s done. I’m going to give you some exercises so you work on these things, on these exercises, just to make sure you’re alternating. So the first exercise with picado will be, you have four frets and you’ve got four fingers. You don’t want to play like this. You don’t want to do that, or play like this. One, two, three, four. Like that. All right, so. And then you come back.
All right, the thing to remember also is you have to play these on the rest strokes. So this is a rest stroke. This is a free stroke. You’re not resting against anything when you do that. But a rest stroke is you’re resting on this next string when you play. After you finish this, you just slide down one and continue. And if you want to slide down one. Same thing, all the way down to here.
I would do this with these two fingers and I would also try to do this with these two fingers, the middle and A. And now, look how I am going to go up with my thumb. Now I’m going to come down and rest on that sixth string again.
All right. That is picado exercise number one.
My name is Mayron [phonetic]. I am a flamenco guitarist
and I’m here to teach you some introductory lessons to flamenco.
What I will start with is a lot of technical stuff,
especially with your right hand. Most of us, historically
playing guitar where we play with picks or we come from
different genres of music and some of you guys want to
get an introduction to flamenco, you need to work on your right hand.
The first thing I want to remind you is your third finger,
the A finger, is probably going to require a lot more attention
than all the other fingers because in our anatomy, in our
physiology, it is the weakest finger.
So we have to spend a lot of time doing exercises to built
that finger up, to make it a little bit stronger.
The thing that we’re going to cover in this series of
flamenco guitar is going to be technical stuff with the
right hand and I’m going to give you lots of exercises for
picado, for arpeggios, for alzapua, pulgar and rasgueados.
What we do in flamenco is usually we don’t just play songs.
What we have are forms. There’s about 80 or 90 different
forms of flamenco.
Most of them are in 12 count. The material in the 12 count,
they tend to be a little bit more difficult than the 4 count
because they have a particular way of accentuating.
You have a count that a lot of times starts on 12 and the
accents are going to be 12, 3, 6, 8, 10. So the accents will
be 12, 3, 6, 8, 10. Okay?
Just to give you an example, it will be like…
In general, just to give you an overview of different
forms of flamenco, the slowest of all of them is solea
which is the mother of everything 12 count.
It’s very heavy or is sad sounding. And the fastest of all
of these forms would be buleria, which is again, very similar
to solea, it’s just a lot more up tempo.
So the solea is going to be one, two, three, four and five
and six, seven, eight, nine, ten, eleven, twelve.
Buleria will be… So that’s a huge different in tempo
between the two.
Everything else within flamenco falls in between these two ranges.
]]>This time we dive into the exciting, exotic style of flamenco… Here’s the first “teaser” clip for you. Much more to come!
Please post your comment! -Claude
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