Online Flamenco Guitar Lessons from Beginners to Advanced level

Flamenco Guitar for Beginners Part 1

By: Adam del Monte

Beginner

190 Min
25 Videos
Edition 2

If you've played very little flamenco guitar or none at all, this beginner course is perfect for you. You will learn the basics such as holding the flamenco guitar, correct posture, right hand techniques; rasgueados, alzapua, etc. and all the comprehensive exercises covering the fundamentals of guitar playing.

With over 25 years of teaching experience, maestro Adam del Monte breaks down all the fundamental and abstract concepts making it easy and enjoyable for the beginner to grasp with a solid understanding and correct method of work.

All techniques such as arpeggios, free stroke, rest stroke and tremolo, have their origin in the classical guitar developed in the 18^th and 19^th century. There have been cases where we see remnants of flamenco concepts in the more 'mainstream' guitar literature such as in some Fernando Sor pieces, where there are specific instructions to use rasgueados.

Flamenco guitarists took all those techniques and adapted them to their own musical environment, which is much more rhythmic in nature.

We look forward to having you join our growing family of flamenco guitar players. Valle!

In this lesson Adam del Monte is playing a flamenco guitar by master luthier Christopher Carrington with cedar top and Brazilian rosewood back and sides.

Flamenco Guitar for Beginners Part 2

By: Adam del Monte

Beginner

131 Min
21 Videos
Edition 2

Part 2 of the Flamenco Guitar for Beginners continues with scales in more detail covering the Phrygian scale and the Comprehensive Flamenco scale (a 9 note scale). It also covers flamenco styles in the forms of Tangos, Solea and Alegrias. To aid with the lesson, the videos are annotated with embedded graphics to give students a visual reference on chords, finger positions on the fret board, and rhythmic patterns.

The theoretical and musical basis of any style of music is critical for its in-depth understanding. The Comprehensive Flamenco scale and its complex make-up is a critical tool to giving you a head-start for your own creative toolbox for the future. When you understand the comprehensive flamenco scale in such depth, you will be free to create your own falsetas and chord voicing.

In this lesson Adam del Monte is playing a flamenco guitar by master luthier Christopher Carrington with cedar top and Brazilian rosewood back and sides.

Flamenco Guitar Techniques Part 1

By: Adam del Monte

Advanced Beginner

159 Min
23 Videos
Edition 1

This in-depth study presents a comprehensive set of exercises by which flamenco guitarists as well as classical guitarists will build dexterity, fluidity, and confidence in playing.

Do you consider yourself an advanced-beginner flamenco guitar player or have you already completed the Flamenco Guitar for Beginners - Part 1 & Flamenco Guitar for Beginners - Part 2? Have you been playing the flamenco guitar for a number of years, yet still seek ways to enhance your technique?

Part 1 of this Flamenco Guitar Techniques series is a 2 hours and 40 minutes long in depth course that focuses purely on the technical development of the right hand. It reviews some fundamentals that were covered in Flamenco Guitar for Beginners series, and then introduces the player to a set of right hand exercises and daily routines including free strokes, rest strokes, thumb techniques, arpeggios, alzapua, picados, and combinations of these various techniques.

By the end of this course you will be at a level where you can start with the more challenging flamenco falsetas and repertoire.

In this lesson Adam del Monte is playing a flamenco guitar by master luthier Christopher Carrington with cedar top and Brazilian rosewood back and sides.

Flamenco Guitar Techniques Part 2

By: Adam del Monte

Advanced Beginner

141 Min
21 Videos
Edition 1

Part 2 of the Flamenco Guitar Techniques series mostly focuses on the left-hand techniques. It offers you plenty of exercises to improve pull-offs, hammer-ons, chord shifting with arpeggios, the basic Rumba pattern, bar chord and Tarantas slurs. As well as combinations of left hand and right hand techniques, tremolo and some short falsetas in Solea and Tangos.

Focusing on hammer-ons and pull-offs in this package, will especially help you develop strength and dexterity in your left hand. Most people, when talking about flamenco guitar, usually focus on the strengths of the right-hand techniques ignoring the importance of a strong and agile left hand. Here we get a detailed and step by step explanation of how to develop exactly that kind of strength and finger-independence.

In this lesson Adam del Monte is playing a flamenco guitar by master luthier Christopher Carrington with cedar top and Brazilian rosewood back and sides.

Rasgueado Techniques

By: Adam del Monte

Advanced Beginner

110 Min
14 Videos
Edition 3

Rasgueado, or Rasgeo in Andalusian, is a right hand (if you are right handed!) strumming technique that is distinctly associated with flamenco guitar. Even though this technique has its roots in the classical guitar it is unfortunate that it is not used nearly enough in the classical guitar literature, and when it is, most classical guitarists don’t have much of a foundation in that technique. To quote maestro Pepe Romero: “where does it say in the Sevillanas by Juaquin Turina that you must play rasguedos that suck…”

This 3rd edition of Rasgueado Techniques is 110 minutes of intense video which includes 5 different types of Rasgueados, a Rumba pattern, Alzapua; that crazy wild thing we do only with the thumb that sounds like thunder, and finally the unique sounding Thumb-Noodle Technique. All techniques are broken down in detail, and their application are provided with examples. These are the ultimate tools and techniques you need to play a great sounding rasgueado.

A fair amount of classical guitar repertoire requires a properly executed rasguedo, yet the actual teaching of it and codifying into a detailed method and process is often lacking. This video is as much for a classical guitar player as it is for a flamenco guitarist who wish to once and for all crack the mystery of these elusive techniques. Here you will learn techniques that are not taught in colleges and universities (with the exception of the University of Southern California in Los Angeles, where maestro del Monte teaches :-D ).

In this lesson Adam del Monte plays an N700 flamenco guitar by Altamira Guitars

Solea 1

By: Adam del Monte

Advanced Beginner

68 Min
13 Videos
Edition 2

Solea or soleares comes from the Spanish word Soledad which means solitude. Its mood is very much introverted and melancholic in character. It is one of the most fundamental forms in all of flamenco literature. With its enigmatic rhythmic structure (compás) of 1 2 3 4 5 6 7 8 9 10 11 12 where the underlined numbers representing the fundamental accents, this compas pattern is shared amongst other major forms of flamenco such as the Solea por Buleras, Alegrias, Bulerias and Fandangos de Huelva. The cante (singing) of Solea is of a solemn, serious and introverted character. Although, it is loaded with outbursts of expression of pain and despair, that intense emotion is what fuels the depth and drama of Solea.

This introductory lesson to solea starts you with some important basics in flamenco. It features three falsetas and two variations which are perfect as a skill builder and for aiding the understanding of the compás of Solea. Even though these phrases are deemed as “Advanced-Beginner” you do need some basic and fundamental technical ability on the flamenco guitar. We recommend that you start with the Flamenco Guitar for Beginners Part 1 and Part 2 to get the necessary skills if you've never played flamenco guitar before.

In this lesson Adam del Monte is playing a Blanca flamenco guitar by the master luthier Erez Perelman

In this lesson Adam del Monte is playing a flamenco guitar by Candelas Guitars

Alegrias 1

By: Adam del Monte

Advanced Beginner

52 Min
10 Videos
Edition 2

This lesson covers the theory and techniques of Alegrías for an advanced-beginner student. It includes a very important traditional phrase called escobilla and a traditional rhythm phrase called compás. Also a melodic falseta (musical variation) using scales and thumb technique. Perfect for understanding the fundamental rhythmic and harmonic structure of Alegrías.

As in most of flamenco forms, Alegrías is a mixture of various musical cultures converging in the south of Spain or Andalusia. The melody of Alegrías was originally a part of a peasant dance called the Jota, an unsophisticated style of music and dance originating in the northern part of Spain, Asturias. It then found its way to the southern part of Spain, Cadiz and the area of El Puerto de Santa Maria, where it was later mixed in with the 12 beat compás of Solea. The rhythmic structure of Alegrías is the same as the Solea and Bulerias; 1 2 3 4 5 6 7 8 9 10 11 12 where the underlined numbers representing the fundamental accents. The main difference is in the harmony. Alegrías is one of few forms that is in a major mode, rather than the Andalusian cadence (many times referred to as the Phrygian mode, however, that explanation is incomplete).

The Alegrías is a part of a category of cantes known of Cantes de boda - wedding songs. The sister forms of the Alegrías are Romeras, Alboreá and Cantiñas. The Alegrías is typically played in E major for mostly dance accompaniment and in A major as a solo however, many solo Alegrías compositions are in E major as well.

In this lesson Adam del Monte is playing a Blanca flamenco guitar by the master luthier Erez Perelman

Tangos 1

By: Adam del Monte

Advanced Beginner

57 Min
15 Videos
Edition 2

Tangos is a dance form that developed primarily between Cadiz and Sevilla. It is a 4/4 beat rhythm and has some reminiscence with certain Arabic rhythm and groove patterns. The flamenco Tangos, has nothing to do with the Argentinian Tango. This style of dancing is also much more sensual which includes much more hip movement (due to the Arabic belly dancing style) in comparison with the starker Soleá and Seguiriya.

Tangos, together with Bulerías are the two favorite forms of jamming and partying in all the Juergas (a flamenco party-jam) usually in celebration of a wedding, baptism or any joyous occasion.

In this lesson you will learn the basic compás and rhythmic patterns of Tangos, broken down into great detail. We also cover the characteristic chord voicings of Tangos, and how we use them in playing compás. We’ll be sharing how to play these traditional phrases with the right feel or aire, showing the tricks on how to get that groove, including how to play and understand it with a rhythm track for more context. There will be a gradual evolution of complexity and subtlety throughout this lesson that will give you a good foundation of the basics but also show you some more advanced and syncopated patterns.

Once you’ll get the basics of compás and aire, you’ll be ready for some Falsetas that will start you off nice and easy so as to get confidence in your understanding and execution of these phrases. Again there will be a noticeable growth in complexity in that area as well.

In this lesson Adam del Monte is playing a Blanca flamenco guitar by the master luthier Erez Perelman

Seguiriya 1

By: Adam del Monte

Advanced Beginner

49 Min
8 Videos
Edition 2

The Seguiriya is thought to be the oldest of all the flamenco styles and it is certainly the most dramatic, tragic and serious form. The singing of Seguiriya is loaded with pathos and almost cathartic pain. The vocal melisma and melodies, as well as vocal expressions, are heavily influenced by the liturgical chanting of the Sephardic, or Judeo -Spanish Chazanut, or synagogue chanting. Although this form is usually associated with being very Gypsy or gitano in style, its roots go far back in history.

Seguiriya can be enjoyed in its simplest and purest form as well as in a more sophisticated version of it. Even though this lesson is about covering the basics, it is also laced with more progressive concepts. You will get detailed breakdowns of a variety of rasgueados and remates (the ending section of the compás) that are typical of this style. You will also learn some timeless compás phrases and original falsetas which are mostly based on the traditional form that are perfect for an advanced-beginner to intermediate flamenco guitar player.

If you are not confident about your rasgueado technique or you are very new to rasgueado, it is highly recommended to sign up for the Rasgueados Technique prior to learning this Seguiriya lesson.

In this lesson Adam del Monte is playing a Blanca flamenco guitar by Candelas Guitars

Tremolo Technique

By: Adam del Monte

Intermediate

93 Min
16 Videos
Edition 1

The technique of tremolo whether a 3-note or a 4-note, is one of the hallmarks of a professional guitarist. Considered an advanced skill, it is a technique that demonstrates refinement, control and lyricism in one’s playing.

The classical tremolo is a 3-note tremolo i.e. p,a,m,i (not including the thumb) and is found in some of the most iconic and memorable pieces such as Recuerdos de la Alhambra by Francisco Tárrega, Una Limosna para el Amor de Dios and Sueño en la Floresta by Austin Barrios.

The flamenco tremolo is a 4-note tremolo (not including the thumb), i.e. p,i,a,m,i the extra note in the flamenco tremolo makes for a slower moving melody line and allows for a more rubato phrasing. Typically used in the slow and free forms of Taranta, Granaina, Minera, but also in a slower rhythmic form such as a Soleá.

In this lesson, you will learn how to play both the classical tremolo and the flamenco tremolo, where you will get very specific techniques and methods of how to develop your fluidity, accuracy, control and tone quality whilst playing a tremolo piece. If you’ve never done tremolo before, or have limited experience with this technique and have struggled with it for some time, this lesson is recommended before you get the lesson on Recuerdos de la Alhambra.

In this lesson Adam del Monte is playing a Blanca flamenco guitar by the master luthier Erez Perelman

Picado Studies

By: Adam del Monte

Intermediate

117 Min
25 Videos
Edition 1

Developing speed, dexterity and accuracy in playing scales (picado) is an essential part of being a great flamenco or a classical guitar player.

This lesson includes a series of specific and original exercises, based on years of experience and practice on how to increase speed, endurance and relaxation. This two-hour long study can help bring you to the next level of your flamenco journey, addressing one of the most desired goals; playing fast and articulate scales.

The sign of the ultimate technical fitness is having a fast yet articulate scales. Whether you consider yourself an advanced-beginner, intermediate or even an advanced player, you are encouraged to incorporate practicing various picado techniques into your daily routine regularly. This is without a doubt the most coveted technique and the hardest to achieve at a high level.

In this lesson Adam del Monte is playing 1963 Manuel De La Chica flamenco guitar

Solea 2

By: Adam del Monte

Intermediate

78 Min
11 Videos
Edition 2

Solea 2 is a perfect lesson for those of you who studied the advanced-beginner level Solea 1 while looking to further your understanding of this flamenco style beyond the basics. The material goes into the more subtle nuances of the right hand and shows how to capture the aire (the feel or the ambience) of the Solea with authentic mechanisms and dynamics.

This 2nd edition of Soleá 2 extends its earlier edition by about one full hour of more instructions. It introduces and breaks down three more falsetas, and covers variations of the traditional remate, the conclusion section of a compas, which you learned in Soleá 1.

Solea is one of the most sober and oldest palos (musical form in flamenco) that predates just about any other palo with the exception of Seguiriya and Toná. Although originating in Jerez, there are many different types of Soleás such as Soleá de Alcalá, Soleá de Jerez, and Soleá de Triana, all with their variations in the cante. Some speculate that it began in the mid 1800s. It has passed through many different phases of interpretation or "ways of feeling it." In the 1920s – 1960s the tendency was to play Soleá in a faster tempo and quite rhythmically. It almost resembled the tempo of Soleá por Bulerías however, over time the pace got slower and by the 1980s Solea was played very slowly yet in the same 12-beat rhythmic structure (compás).

In this lesson Adam del Monte is playing a flamenco guitar by Candelas Guitars

Alegrias 2

By: Adam del Monte

Intermediate

42 Min
8 Videos
Edition 2

Alegrias is a happy and joyful dance, as it is part of the category of Cantes de Boda i.e. wedding songs. The sister forms of Alegrias are Alboréa, Cantiñas and Romeras. They are all in the major mode, either in E major, A major, D major or C major. They all share the same rhythmic structure (compás) of Alegrias, however, the chord progressions of the cante (the singing) differs from one to the other.

Alegrías is one of the most popular forms both for dancers and solo guitarists. Because of its optimistic character (a welcome break from the usual dramatic and serious forms such, as Soleá, Siguiriyas, Tientos etc.) Alegrías is also popular because it has a large variety of mechanisms which highlight the rhythmic, melodic and virtuosic elements of flamenco guitar. It is a very well-balanced form since it includes a well-rounded array of techniques and musical possibilities. Harmonically, since it’s in a major key, it lends itself to a much more open and inclusive influences from jazz and classical.

The first falseta in this lesson is great if you want to learn something with a nice off-beat feel to it. It's mostly in triplets and uses the thumb for the most part, even in the higher register and treble strings. It also follows the traditional harmonic changes of Alegrias. A must have!

The second falseta in this lesson is richer harmonically which will make a perfect addition to your Alegrías repertoire. It also has an impressive picado ending that is bound to get a good ole! out of the crowd! The second remáte after the picado is a powerful yet a traditional ending to an exciting falseta.

In this lesson Adam del Monte is playing a Blanca flamenco guitar by the master luthier Erez Perelman

Seguiriya 2

By: Adam del Monte

Intermediate

76 Min
9 Videos
Edition 1

Tragic and majestic, Seguiriya is arguably the most mysterious and haunting style in flamenco. The cante (singing) of Seguiriyas is dramatic and filled with deep sorrow & tradegy. The dancing is the darkest and perhaps the most powerful of all flamenco styles. Without fully grasping these fundamental phrases you won't be able to enjoy and develop it into the more progressive style in a near future.

This lesson builds on its precursor Seguiriya 1. It breaks down in detail the traditional phrases selected for an intermediate flamenco guitarist while incorporating some new and original falsetas to get your technique to a higher level. In the final video clip maestro del Monte demonstrates one possible way of transforming the falsetas covered in this lesson into a small flamenco guitar composition.

The rhythmic structure or compás of Seguiriya is almost an anomaly within the various compás forms of flamenco 1 2, 1 2, 1 2 3, 1 2 3, 1 2 (where the underlined numbers representing the fundamental accents), is the rhythm and accent structure which possess a trans-like quality. The interpretation of Seguiriya has also, like the Soleá, undergone various transformations. In the 1920s-1960s Seguiriya was played in erratically varying tempos just to be able to accompany the singer. For instance, when listening to the great singer (cantaor) Manolo Caracol, accompanied by the flamenco guitarist Melchor de Marchena, the flexibility of the compás makes it almost impossible to follow since it is treated so loosely. In the 1990s the legendary flamenco guitarist, Pepe Habichuela recorded a revolutionary way and 'feel' of interpreting the Seguiriya. It was very rhythmic and more up-tempo. Here Maestro Habichuela achieves a unique balance between the excitement of the faster pace but manages to preserve the seriousness and drama of the Seguiriya, an element that has eluded most of the guitarists who have tried to copy that way of playing the Seguiriya.

In this lesson Adam del Monte is playing a Blanca flamenco guitar by Candelas Guitars

Tangos 2

By: Adam del Monte

Intermediate

52 Min
10 Videos
Edition 2

This Tangos lesson builds on the skills learned in Tangos 1 but increases the rhythmic complexity and includes more syncopations. There is also the traditional Alzapua phrase That is a must-know for a soloist or an accompanist alike. All the compas phrases and falsetas are Challenging enough to be considered higher intermediate, but are designed to be very playable And easy to execute in any situation whether at a concert or even a party-jam session!

In this lesson Adam del Monte is playing a Blanca flamenco guitar by the master luthier Erez Perelman

Tarantas Studies

By: Adam del Monte

Intermediate

152 Min
15 Videos
Edition 1

Tarantas is among a special category of its own within the flamenco world. It is part of a genre known as Cantes de las minas (Songs of the mines). The sister forms of Tarantas are Minera, Cartagenera and Murciana. These all originate, as their title suggest, in the throat of the mine workers of the south-eastern region of Andalusia, in Murcia and La Union.

This 2.5 hours Tarantas Studies is an in depth course on the fundamental and traditional elements of this style. It has many examples of the typical "flavor phrases" that are so characteristic of this melismatic style. There is a perfect blend of traditional and more progressive falsetas that turn this Tarantas lesson into a complete composition, making this a perfectly playable piece for intermediate and advanced players. It also includes a super cool thumb trick!

This highly melismatic style of cante (singing) is very much imitated by the guitar with a very particular way of using a lot of slurs; hammer-ons and pull-offs. It has a distinct echo-like tonality mimicking the echo in a mine.

The Tarantas are not danced to since they are free of any rhythmic structure (compás) that you find in the styles like Soleá, Alegrías, Bulerías, Tangos, etc. However nowadays, Tarantas can be used as a lyrical introduction to another rhythmic form even when danced, but it is NOT a dance in of itself.

In this lesson Adam del Monte is playing a flamenco guitar by master luthier Christopher Carrington with cedar top and Brazilian rosewood back and sides.

Granainas Studies

By: Adam del Monte

Advanced

166 Min
26 Videos
Edition 1

Granaina is a style very much evocative of the majestic landscape in Granada Spain. It is a form known to belong to the family of cante libre, meaning 'free song'. The free part refers to the fact that it is not a rhythmic flamenco style like Solea, Buleria, or Alegrias.

Granaina is rooted in the style of Fandango, a form that was at the height of its popularity in the 18th and 19th centuries. During this time different regions in the Andalucia created their own adaptation of Fandango, and this is when Granada gave birth to Granaina.

We are excited to introduce you to this Granainas Studies by maestro Adam del Monte. This study will take you on a journey where in the first two phrases you'll grasp the traditional structure and harmony-melody relationship of this flamenco style. The lesson then becomes more challenging technically, yet it breaks down the music as it moves along phrase by phrase. This Granainas is a rather lengthy composition in which the intermediate to advanced flamenco guitar student can learn and eventually perform as a complete piece.

In this lesson Adam del Monte is playing a Blanca flamenco guitar by Candelas Guitars

Bulerias Studies 1

By: Adam del Monte

Advanced

120 Min
20 Videos
Edition 2

This Bulerias Studies 1 - 2nd Edition (formerly Bulerias Package) focuses on a large set of intermediate-to-advanced level compas patterns that help cement the building blocks of understanding and executing the magical and hypnotic rhythm of Bulerias. There are many examples and variations to help keep you playing the Bulerias alive and spontaneously. All phrases are broken down and explained including the music score and the music tabs in downloadable PDF format. This series will definitely fire up your Bulerias playing, and will keep you busy for a long time.

In this lesson Adam del Monte is playing a Blanca flamenco guitar by the master luthier Erez Perelman

Bulerias Studies 2

By: Adam del Monte

Advanced

104 Min
21 Videos
Edition 1

Bulerías is arguably the most popular and beloved form in flamenco because of its exciting and fiery rhythm and feel. Jerez is considered the birthplace of the Bulerías and the Jerezanos are very proud of this marvelous tradition. Bulerías is the most played form in social gatherings known as Juergas; for the flamencos it is their sacred ritual of human and social expression.

This Bulerias Studies 2 features several new compás patterns, remates as well as five falsetas that you can perform as part of a solo composition or accompanying singers and dancers. These falsetas cover a range of technical difficulties and styles.

Falseta 1 is Adam del Monte’s personal view of a classic and famous falseta by Moraito Chico from Jerez who was a great Master of Bulerías. Falseta 2 is a perfect “safe place” to have under your belt ready to fire at any time. Played with all thumb, this falseta is fun, easy and enjoyable to play. It’s also a great way to practice your thumb-melody. It’s a traditional falseta that will never go out of style when played in Juergas, or flamenco party-jams, for a cantaor or as a solo. Falseta 3, is the longest and most complex of the falsetas in this study. This falseta takes advantage of many mechanisms, giving you a variety of textures and types of phrases. In this falseta you’ll have the opportunity to practice going from thumb-playing to semi-alza púa to arpeggio and rasgueado. This falseta is perfect for a solo in Bulerías. Falsetas 4 & 5 are inspired by Adamdel Monte’s teacher Pepe Habichuela. A simple thumb phrase but full of flavor, combined with some very cool alza-púa technique which help make this falseta a classic to have in your pocket. The remate is Adam del Monte’s own and it uses the chaflanes technique for extra power at the end.

In this lesson Adam del Monte is playing a Blanca flamenco guitar by the master luthier Erez Perelman

Solea por Bulerias

By: Adam del Monte

Advanced

153 Min
46 Videos
Edition 1

Soleá por Bulerías is a form that is right in between Soleá and Bulerías. It's like a fast Soleá but in the key of A Phrygian, like the key of Bulerías.

This new study in Soleá por Bulerías is perfect for intermediate and advance flamenco guitar players as it covers a whole set of basic groove patterns broken down in details. Not only are the first few patterns and falsetas easy enough for intermediates, they are also fun and groovy for advance players. In addition, there are a few challenging patterns and falsetas that will give every player a lot to learn from. This new lesson will provide you with material that can be used as a performance piece.

In this lesson Adam del Monte is playing a flamenco guitar by master luthier Christopher Carrington with cedar top and Brazilian rosewood back and sides.