Check out this sample video to see some of the cool flamenco styles you’re about to learn!

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…

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.

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.

Please post your comment! -Claude