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FLAMENCO GUITAR TRANSCRIPTIONS
Resources Index

New picado exercises.

FALSETAS
cantiña
Six cierres and three short falsetas in C.
Three picado runs in E, C and A to end your falsetas.
malagueña
Montoya, Ricardo and Paco arpeggiate over the siguiriyas rhythm.
fandango
Fourteen falsetas and different ways to connect them.
Three falsetas with different approaches and techniques.
soleá
Basic classic falsetas por arriba.
A falseta in the hands of Ramón Montoya in the 30s, Sabicas in the 50s, and Paco de Lucía and Enrique de Melchor in the 70s.
Alzapúa falsetas from the greatest players throughout history.
siguiriya
Falsetas of Javier Molina, Ramón Montoya, Miguel Borrull, Manolo de Badajoz, El Hijo de Salvador and others.
Forty-nine classic cierres and remates to end your falsetas.
bulería
Examples of basic bulerías rhythm and rasgueados from Melchor, Morao, Cepero, Parrilla and Rafael Alarcón.
Morón-Jerez in the 1950s and 1970s.
Paco Cepero in the 1970s.
Ramón Montoya in 1931.
Juan Maya "Marote" in 1970.
Three falsetas of Manolo de Huelva and four variations of Miguel Borrull, Niño Ricardo and Melchor de Marchena.
Bulería falseta.

FALSETA COLLECTIONS
Collections of transcriptions of bulerías, soleares and siguiriyas falsetas
from the 1900s to the 1990s in standard notation and tablature with CD.

STUDY RESOURCES
music
A classification and study of two singing styles, with 58 different substyles of siguiriyas and 85 substyles of soleares in over 400 audio samples, including the sung verse. Based on the work of Luis and Ramón Soler.
Examples of six different styles of bulerías por soleá sung by El Gloria, Manuel Torre, Pastora Pavón, Tomás Pavón, Antonio Mairena, Pepe El Culata and Joselero. Study (in Spanish) of insertion of half-compás found in old recordings of bulerías por soleá.
Useful guitar exercises. Scales and arpeggios for single-note lines. New study of picado.
The music of Gaspar Sanz. Zarabanda, Jácaras and Pasacalle published in 1675 with asymmetrical rhythms that might have been the origin of flamenco compás.
reference
Interviews with Javier Molina and Ramón Montoya.
Biographical information on flamenco guitarists.
Soleares and siguiriyas rhythms explained with illustrations.
Explanation of the sytem of noted rhythm used in standard notation. Includes useful information for developing your sense of rhythm.
A satellite photo of Andalusia and northern Africa.
Links on flamenco, guitarists and the guitar.
A small audio file of the guitar that you can use for your computer, mobile phone, etc.


En mi aposento...
una guitarilla tomo,
Que como "barbero" templo
y como "bárbaro" toco;

Luis de Góngora


¡Ay! esta guitarra, plaza
sonora de mi dolor:
La prima quisiera darle
un capotazo al bordón,
porque el bordón, como toro
del sentimiento mayor,
va repartiendo profundas
cornadas al corazón

M. Benítez Carrasco

falseta collections
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