You will have access to the video tutorials posted in our free trial curriculum for 3 days with no access to sheet music and e-books. Your trial membership WILL NOT convert to a paid membership at the end of this period. If you choose to upgrade during or after your free trial, you can do so easily from within your account.
LAGA Free Trial program consists of trial curriculi from our signature courses LAGA Classical and LAGA Flamenco. Please note – since we update the curriculum regularly, the lessons listed below might not reflect the latest pieces added to the curriculum.
LAGA Classical
LEVEL 1
Level One covers warm-up techniques, posture, as well as hand and finger positions, basic drills, the first position notes, the rest stroke, proper nail care, hammer-on, and staccato techniques for a solid foundation. Learn how to read music with our proven, step by step system. Even at this level, you will not be bored, because you will learn to play beautiful music–not the contrived tunes that many entry-level programs offer. Finally, we teach you methods to relax the tension that many beginners feel. Level One gets you off to a good start!
Part 1: Technical Basics; First String Notes
Warm-up routine
Sitting position with a foot stool
Sitting position with a knee stool
Nail preparation – Step 1
Nail preparation Step 2
Left hand basics, spider walks
Spider Walks
Right hand basics, free stroke
Rest stroke
The i-m alternation
Combining left hand and right hand
Chromatic drill
Rhythm drill on the first string
Play Song
Play Song – Close-up View
Play Song – Play Along Track
Riddle
Riddle – Close-up View
Riddle – Play Along Track
Part 2: Second String Notes
String Drill for the Second String
String Crossing Drill
Game Song
Game Song – Close-up View
Game Song – Play Along Track
Ambos a Dos
Ambos a Dos – Close-up View
Ambos a Dos – Play Along Track
Eighth Note Drill
Bucket Story
Bucket Story – Close-up View
Bucket Story – Play Along Track
A la Volette
A la Volette – Close-up View
A la Volette – Play Along Track
Game Song
Game Song – Close-up View
Game Song – Play Along Track
Scale for Slender Roman Tree
Slender Roman Tree
Slender Roman Tree – Close-up View
Slender Roman Tree – Play Along Track
Go Around My Garden
Go Around My Garden – Close-up View
Go Around My Garden – Play Along Track
Spring Dance
Spring Dance – Close-up View
Spring Dance – Play Along Track
Hammer-on Drill
Scale for Swapping Song
Swapping Song
Swapping Song – Close-up View
Swapping Song – Play Along Track
Part 3: Third String Notes
String Drill for the Third String
Let’s Play
Let’s Play – Close-up View
Let’s Play – Play Along Track
String Drill for the First, Second and Third Strings
Little Tea Pot
Little Tea Pot- Close-up View
Little Tea Pot – Play Along Track
Drill for Lunarijitu
Lunarijitu
Lunarijitu – Close-up View
Lunarijitu – Play Along Track
Let’s Bake Something
Let’s Bake Something – Close-up View
Let’s Bake Something – Play Along Track
Rhythm Drill for Marrope
Marrope
Marrope – Close-up View
Marrope – Play Along Track
Rhythm Drill for Little Chicks
Little Chicks
Little Chicks – Close-up View
Little Chicks – Play Along Track
Scale Drill for Round Dance
Round Dance
Round Dance – Close-up View
Round Dance – Play Along Track
Supurgesi Yoncadan
Supurgesi Yoncadan – Close-up View
Supurgesi Yoncadan – Play Along Track
Part 4: Fourth String Notes
String Drill for the Fifth String
Bingo
Bingo – Close-up View
Bingo – Play Along Track
Scale Drill for Rain Dance
Rain Dance
Rain Dance – Close-up View
Rain Dance – Play Along Track
Romance
Romance – Close-up View
Romance – Play Along Track
Scale Drill for Greensleeves
Greensleeves
Greensleeves – Close-up View
Greensleeves – Play Along Track
Scale Drill for Cantico
Cantico
Cantico – Close-up View
Cantico – Play Along Track
Fast Dance
Rhythm Drill for Sindhio
Sindhio
Sindhio – Close-up View
Sindhio – Play Along Track
Que Importa
Que Importa – Close-up View
Que Importa – Play Along Track
Part 5: Fifth String Notes
Craftsman (5th string)
Craftsman – Close-up View
Craftsman – Play Along Track
Lullaby
Lullaby – Close-up View
Lullaby – Play Along Track
Two Pigeons
Two Pigeons – Close-up View
Two Pigeons – Play Along Track
Staccato Drill
Kitty, Kitty
Kitty, Kitty – Close-up View
Kitty, Kitty – Play Along Track
Bailecito
Bailecito – Close-up View
Bailecito – Play Along Track
Where Are Your Geese?
Where Are Your Geese? – Close-up View
Where Are Your Geese? – Play Along Track
Scale Drill for Ala Gozlum
Ala Gozlum
Ala Gozlum – Close-up View
Ala Gozlum – Play Along Track
Staccato Drill for Tarantella
Tarantella
Tarantella – Close-up View
Tarantella – Play Along Track
Rhythm Drill for Dance from Kongo
Dance from Kongo
Dance from Kongo – Close-up View
Dance from Kongo – Play Along Track
Well-Muscled Horse
Well-Muscled Horse – Close-up View
Well-Muscled Horse – Play Along Track
Part 6: Sixth String Notes
String Drill for the Sixth String
Phrygian Scale with P
Phrygian Scale with i-m
Lao Duang Duen
Lao Duang Duen – Close-up View
Lao Duang Duen – Play Along Track
My Village
My Village – Close-up View
My Village – Play Along Track
Near My House
Near My House – Close-up View
Near My House – Play Along Track
Carefree Vagabond
Thumb Drill for Millpond
Millpond
Millpond – Close-up View
Millpond – Play Along Track
Off We Go
Off We Go – Close-up View
Off We Go – Play Along Track
Jaska’s Ride
Jaska’s Ride – Close-up View
Jaska’s Ride – Play Along Track
Rhythm Drill for Mercedita
Mercedita
Mercedita – Close-up View
Mercedita – Play Along Track
Part 7:
How to change the strings – Bridge, Part 1
How to change the strings – Bridge, Part 2
How to change the strings – Nut Side
LEVEL 2
At Level Two, you’ll already be playing pieces from great composers such as Fernando Sor and D. Aguado, as well as much-loved familiar pieces, like “Greensleeves.” In Level Two, you will learn how to play arpeggios in various fingering combinations. Tone color and dynamics are important parts of your development as an artist. Level Two is your introduction to those key components. You will continue to learn more about relaxation techniques designed to help you enjoy your practice time. We end this level by learning how to play glissandos–adding even more flair to your music.
Part 1: Basic Arpeggio Package I
Arpeggio 1
Arpeggio 2
Arpeggio 3
Arpeggio 4
Arpeggio 5
Arpeggio 6
Arpeggio 7
Arpeggio 8
Arpeggio 9
Arpeggio 10
Arpeggio 11
Arpeggio 12
Arpeggio 13
Arpeggio 14
Part 2: Beginning Repertoire Set I
Open string pitch equivalences
Basic chord drill
i-m string crossing
Study 1 by F. Sor
Musical performance, dynamics
Color Drills
Study 2 by F. Sor
Study 3 by F. Sor
Study in A minor by D. Aguado
Part 3: Beginning Repertoire Set II
Greensleeves
Packington’s Pound
Study in C major, F. Sor
Contradanza
Andante in A minor, F. Sor
Valsecito by J. Cardoso
LEVEL 3
Classical music buffs will enjoy the selections we study in Level Three. The pieces cover four periods of music: the Renaissance, the Baroque, the Classical, and the Romantic. Level Three has selections by Coste, Krieger, Carulli, and a great arrangement of Brahms’ famous “Lullaby” cancion.
Level Three will introduce you to many techniques foundational to your development as an artist. A review of arpeggios begins Level Three. Then we introduce two new arpeggios: a five-note arpeggio and a “planted” arpeggio. Planted arpeggios provide you with a solid left-hand foundation for free stroke playing, as well as training the flexor muscles in your forearm. Level Three introduces you to grace notes–common ornaments in guitar music. Grace notes are a technical foundation for trills, as well as being useful in their own right. Building on that foundation, we introduce actual trills. At this level, we stress scales and other exercises to help your technique. Scale studies never become boring, for alongside of the scales, you will learn pieces which incorporate these right into the music. You will learn vibrato in Level Three, along with rhythmic structures which are more complex than the ones you have previously learned. You will enjoy the more challenging music theory that you learn in Level Three, because it will relate directly to the pieces that you are learning.
Part 1: Basic Arpeggio Package II
Arpeggio 1
Arpeggio 2
Arpeggio 3
Arpeggio 4
Arpeggio 5
Arpeggio 6
Arpeggio 7
Arpeggiato
Part 2: Technical Basics II
Pull-offs – Left-hand
Pull-offs – view 2
Grace note drill – Left-hand
Descending grace notes – Left-hand
Hammer-ons 1
Hammer-ons 2
Hammer-ons 3
Hammer-ons 4
Trills 1
Trills 2
Part 3: Technical Basics III
Scales 1
Scales 2
Scales 3
Scales 4
Scales 5
Scales 6
Scales 7
Scales 8
Vertical Stretches 1
Vertical Stretches 2
Tuning the sixth string to D
Vibrato 1
Vibrato 2
Part 4
Tanz
Minuet by J. Krieger
Bouree by J. Krieger
Andantino by F. Carulli
Part 5
Cancion by J. Brahms
Allegretto by M. Giuliani
Chammarita by J. Cardoso
Part 6
Higher Position Notes – Overview
First string notes on higher positions
Shifting drill on the first string
Study by N. Coste
Allegretto by M. Giuliani
Volte
Part 7
Study in C major
Minuet in G main
Rasgueado Doble by J. Cardoso
Albazo by J. Cardoso
Study No. 3 by F. Sor
LEVEL 4
Level Four starts by reviewing your staccato technique, then taking it to a higher level. Because the pieces you will be learning will become more difficult, you will learn more about how to stretch and strengthen your fingers and hands. One of the most exciting developments at this level will be your growing ability to learn your pieces well enough that you can hear them in your mind, even without a guitar in your hands. This ability will help you to make choices that help your dynamics, tone color changes, and tempo adjustments to sound natural, not contrived. You will continue to refine your artistic development, since you will reach an important milestone in the intermediate repertoire.
Level Four will also introduce you to the Flamenco rasgueado and the bar technique, which will be important additions to your technical arsenal. You will study great works by Carcassi, Sor, Aguado, Milan, and even the prolific Argentine composer, J. Cardoso!
Part 1
Staccato
Right hand staccato
Glissando drill
Jump drill
Second string notes on higher positions
Third string notes on higher positions
Part 2
Horizontal stretches – 1
Horizontal stretches – 2
Horizontal stretches – 3
Horizontal stretches – 4
Horizontal stretches – 5
Horizontal stretches – 6
Horizontal stretches – 7
Horizontal stretches – 8
Horizontal stretches – 9
Part 3
Flamenco rasgueados – 1
Flamenco rasgueados – 2
Flamenco rasgueados – 3
Flamenco rasgueados – 4
Flamenco rasgueados – 5
Flamenco rasgueados – 6
Flamenco rasgueados – 7
Flamenco rasgueados – 8
Flamenco rasgueados – 9
Flamenco rasgueados – 10
Flamenco rasgueados – 11
Flamenco rasgueados – 12
Flamenco rasgueados – 13
Part 4
Chromatic octave arpeggios
Chord drills – 1
Chord drills – 2
Chord drills – 3
Chord drills – 4
Polo Venezolano by J. Cardoso
Drill for Etude no.9 by M. Carcassi
Etude No. 9 – M. Carcassi
Part 5
Snap drill for 2-string bars
Drill for 2-string bars
Snap drill for 3-string bars
Snap drill for 3-string bars
Bailecito by J. Cardoso
Nocturne by D. Aguado
Saltarello
Second string notes on higher positions
Diatonic second string notes on higher positions
Shifting drill on the second string 1
Shifting drill on the second string 2
Study in E minor by N. Coste
Part 6
Study in D major by N. Coste
Drills for the Study No. 35 by N. Coste – 1
Drills for the Study No. 35 by N. Coste – 2
Drills for the Study No. 35 by N. Coste – 3
Study No. 35 by N. Coste
Gato by J. Cardoso
Study in D minor by N. Coste
Chamame by J. Cardoso
Part 7
Pavana by L. Milan
Hinge bar drill
Minuet by R. de Visee
4 string bars
Natural harmonics drill
Mi Favorita drill
Estudio no.6 by F. Sor
Study no.2 by F. Sor
Part 8
Five-string bars
Variations on a Renaissance Theme, part 1
Variations on a Renaissance Theme, part 2
Variations on a Renaissance Theme, part 3
Variations on a Renaissance Theme, part 4
Study no.2 by F. Tarrega
Part 9
Six-string bars
Study no.17 by M. Giuliani
Study no.1 by N. Coste
Story no.5 by F. Sor
Jesu, Joy of Man’s Desiring by J. S. Bach
Galopa by J. Cardoso
LEVEL 5
Level Five will focus your attention on refining your artistry by helping you research the background of the composer and his or her culture. Understanding the story behind the music makes it come alive in your mind–which comes through in your performance. With your considerable technical arsenal–which at the end of this level will include right-hand harmonics–you will now be able to translate that understanding into your playing. Higher-position notes give you more range; octave harmonics produce gorgeous tones. Level Five’s intensive repertoire study will challenge you with works by M. Giuliani, R. Johnson, Narvaez, Scarlatti, Bach, and many more.
Part 1
Allegretto by M. Guiliani
Fourth string notes on higher positions
Waltz in A minor by F. Chopin
Theme from Swan Lake by Tchakovsky
Habanera from Carmen by G. Bizet
Alman by R. Johnson
Guardame las Vacas by L. de Narvaez
Study in G minor by N. Coste
Study no.1 by M. Giuliani
Samba by J. Cardoso
Gymnopedie no.1 by E. Satie
Part 2
Fifth string notes on higher positions
Air on the G String by J. S. Bach
Traumerei by Schubert
Adagio by Albinoni
The Story of the Kalendar Prince by R. Korsakov
Promenade by M. Mussorgsky
Study no.6 by M. Giuliani 1
Study no.6 by M. Giuliani 2
Vidala by J. Cardoso
Vidalita by J. Cardoso
Part 3
Dido’s Lament by H. Purcell
Ave Maria by F. Schubert
Torija by F. M. Torroba
Vals Venezolano by J. Cardoso
Canarios by G. Sanz
Saraband by R. de Visee
Aria by Scarlatti
Menuet in G major by J. S. Bach
Part 4
Sixth string notes on higher positions
Artificial Harmonics Drill
El Sueno by A. Barrios – part 1
El Sueno by A. Barrios – part 2
Cueca by J. Cardoso
Cueca – Tips from your Teacher
Etude no.3 by Carcassi
LEVEL 6
In Level Six, you will build your concert and recital repertoire by learning many important works written for the guitar, including all-time classics by Tarrega, an important theme and variations work by F. Sor (a landmark piece that guitarists use in competitions and auditions), as well as the gorgeous Catalonian song, El Testament D’Amelia. You will learn the double pull-off technique, as well as building your proficiency in playing chords and in your tremolo technique–a major milestone in learning to play the classical guitar. You will learn what an impact phrasing can make on your music. More knowledge of music theory, of physical and mental preparation for performance will make Level Six an important building block on your journey as an artist.
Part 1
Five-note chords
Pizzicato
Prelude by F. Chopin
Lagrima by F. Tarrega
Adelita by F. Tarrega
Romance
Part 2
Preludio by J. S. Bach
El Testamen de N’amelia
Milonga by J. Cardoso
Part 3
Variations by F. Sor, Introduction
Variations by F. Sor, Theme
Variations by F. Sor, Variation 1
Variations by F. Sor, Variation 2
Variations by F. Sor, Variation 3
Variations by F. Sor, Variation 4
Variations by F. Sor, Variation 5
Variations by F. Sor, Coda
Part 4
Tremolo drill
Tremolo Study – A
Tremolo Study – B
Tremolo Study – C
Tremolo Study – D
LEVEL 7
In this level, you will refine your interpretive skills, preparing yourself to perform many pieces that are the gold standard for concert and competition performances. Works by master composers such as Barrios, Tarrega, and F. Sor will challenge you to become one with the music. Your speed, smoothness, and familiarity with the instrument will enhance your performance, while the relaxation techniques you learn will calm you and focus your mind.
Part 1
Capricho Catalan by I Albeniz
Spanish Dance No. 5 by E. Granados
Julia Florida by A. Barrios
Una Limosna by A. Barrios
Part 2
Fur Elise by L.V. Beethoven
Moonlight Sonata by L. V. Beethoven
In the hall of the mountain king by E. Grieg
Variations on a theme by Mozart by F. Sor, Introduction
Variations on a theme by Mozart by F. Sor, Theme
Variations on a theme by Mozart by F. Sor, Variation 1
Variations on a theme by Mozart by F. Sor, Variation 2
Variations on a theme by Mozart by F. Sor, Variation 3
Variations on a theme by Mozart by F. Sor, Variation 4
Variations on a theme by Mozart by F. Sor, Coda
Nessun Dorma by Puccini
Part 3
Spring from Four Seasons by A. Vivaldi
Ruhe Sanft by W. A. Mozart
E Lucevan le stelle by G. Puccini
Quando me n’vo by G. Puccini
Capricho Arabe by F. Tarrega
El Colibri by J. Sagreras
Las Abejas by A. Barrios
Recuerdos de la Alhambra by F. Tarrega
LAGA Flamenco
LEVEL 1
We begin Level One of our Flamenco program by demonstrating the proper sitting position. Posture and relaxation are the keys to forming a good foundation. You will build on that foundation by learning the fingering notation for both hands, as well as basic terminology. As you progress, you will learn the free stroke, the rest stroke, rasgueados and golpe. We will introduce you to the compas (rhythm cycle–a very important concept in Flamenco music) as you begin your first Flamenco piece, a Solea–which is one of the oldest and most traditional forms (In Flamenco music “forms” are musical styles, also known in Spanish as “palos”). You will learn about falsettas, and be introduced to the Phrygian mode. Music theory will come naturally as you learn that it is but one component of the music you will be learning. You will begin to think like a musician in our PIT (put it together) pieces–even at this level–by creating your own pieces based on the material that you have learned so far.
Technical Basics
Sitting position
Nail preparation
Capo on the third fret
Left hand basics
Right hand basics
Left and right hand basics
Flicks – 1
Flicks – 2
Flicks – 3
Golpe
Solea, Part 1
Solea, mode
Extended Phrygian scale
Phrygian degrees
Solea compas
Basic falsetta
Remate
Remate in compas
Falsetta with remate
Passing tones
Falsetta with rasgueado
Solea, Part 2
Thumb scale
Bass falsetta
Bass falsetta 2
p-i falsetta
Solea, remaining degrees
Degree variations
Degree variations 2
Finale falsetta
Solea – PIT (Put it Together)
LEVEL 2
Level Two begins on a familiar note, with the well-known Spanish folk song called “Malaguena.” More difficult variations of the techniques that you learned in Level One make your music come to life, as we add syncopation, to add interest to the music’s rhythm. You will also learn two powerful techniques: the hammer-on and pull-off as well as learning scales to increase your technical proficiency. Learning the scales will have an added benefit: it will boost your knowledge of music theory without the boredom. You will learn more varied and sophisticated arpeggios, and add hinge bars and grace notes to your musical skills. Level Two ends with the study of the second Flamenco form, the Seguiriyas, which will help you to learn new forms in the future. Level Two will also prepare you for higher levels by teaching you arpeggio-based falsettas, since those falsettas use a common texture and harmonic structure seen in forms that you will be learning in the future, such as Tangos, Tientos, and Bulerias. Level Two ends with the study of the second Flamenco form, the Seguiriyas.
Malaguena
Solea, Part 3
Solea remates
Syncopation
Opening falsetta 1
Opening falsetta 2
Solea falsetta 1
Solea falsetta 2
Solea falsetta 3
Solea, Part 4
Octave phrygian scale
Octave falsetta
Arpeggio divisions
Arpeggio division falsetta 1
Arpeggio division falsetta 2
Arpeggio division falsetta 3
Arpeggio division falsetta 4
Solea, Part 5
Ending segments 1
Ending segments 2
Ending segments 3
Ending segments 4
Rasgueados with thumb strokes
Finale rasgueado 1
Finale rasgueado 2
Finale rasgueado 3
Solea – PIT (Put it Together)
Seguiriyas, Part 1
Seguiriyas, A phrygian mode
Seguiriyas, compas 1
Seguiriyas, compas 2
Seguiriyas, compas 3
Seguiriyas, compas 4
Seguiriyas, compas 5
Basic phrases
Seguiriyas, A phrygian degrees
Remates
Remates – view 2
Seguiriyas falsetta
Seguiriyas, Part 2
Falsetta variation 1
Falsetta variation 2
Falsetta variation 3
Falsetta variation 4
Falsetta variation 5
Falsetta variation 6
Seguiriyas falsetta
Seguiriyas falsetta
Seguiriyas falsetta
Seguiriyas – PIT (Put it Together)
LEVEL 3
In Level Three, you begin with learning how to play variations which are based on inversions and re-voicings of the harmonic structures of remates. The variations are also a fun way to learn about music theory. You will clarify your instrument’s tones by refining techniques that you have already learned. More rhythmic and golpe variations vary the pace in Level Three. Tremolo drills will prepare you to learn the quatromolo, a commonly-used Flamenco technique. We introduce you to bar snaps, and learn more advanced falsettas in the profound Flamenco form, Seguiriyas. You will end Level Three by starting to learn the joyful Alegrias.
Soleares, Part 6
Remate variation 1
Remate variation 2
Remate variation 3
Opening solea falsetta 1
Opening solea falsetta 2
Opening solea falsetta 3
Opening solea falsetta 4
Legato falsetta 1
Legato falsetta 2
Soleares, Part 7
Rhythmic variation 1
Rhythmic variation 2
Rhythmic variation 3
Rhythmic variation 4
Rhythmic variation 5
Tremolo drill
Sequential falsetta 1
Sequential falsetta 2
Sequential falsetta 3
p-i falsetta 1
p-i falsetta 2
Soleares, Part 8
Three beat variations 1
Three beat variations 2
Three beat variations 3
Three beat variations 4
Three beat variations 5
Three beat variations 6
Three beat variations 7
Three beat variations 8
Three beat variations 9
Three beat variations, overview
Soleares, Part 9
Bar snaps
Bar snaps, 3 string drils
Bar falsetta 1
Bar falsetta 2
Bar falsetta 3
Soleares, Part 10
Sequential falsetta 1
Sequential falsetta 2
Sequential falsetta 3
Sequential falsetta 3
Sequential falsetta 4
Sequential falsetta 5
Cuatromolo drill
Sequential falsetta 6
Sequential falsetta 7
Sequential falsetta 8
Sequential falsetta 9
Soleares, Part 11
Scale drill 1
Scale drill 2
Scale drill 3
Scale drill 3 – higher tempo
Scale drill 4
Scale falsetta 1
Scale falsetta 2
Full scale falsetta 1
Full scale falsetta 2
Seguiriyas, Part 3
Seguiriyas remate variation 1
Seguiriyas remate variation 2
Seguiriyas remate variation 3
Seguiriyas remate variation 4
Quintuplet variation
Seguiriyas falsetta 1
Seguiriyas falsetta 2
Ending segment 1
Ending segment 2
Seguiriyas, Part 4
Rest falsetta 1
Rest falsetta 2
Seguiriyas falsetta
Hinge bar falsetta
p-m-i falsetta
Alegrias, Part 1
Alegrias mode
E major degrees
Non-chord tones 1
Non-chord tones 2
Non-chord tones 3
Non-chord tones 4
Non-chord tones 5
Non-chord tones 6
Non-chord tones 7
Alegrias, Part 2
Alegrias, compas 1
Alegrias, compas 2
Alegrias, compas 3
Alegrias falsetta 1
Alegrias falsetta 2
Syncopation
Falsetta ending 1
Falsetta ending 2
Falsetta ending 3
Alegrias, Part 3
Non-chord variations
Inversion sequence 1
Inversion sequence 2
Cuatromolo introduction
p-i-p falsetta 1
p-i-p falsetta 2
Alegrias falsetta
Arpeggio accompaniment falsetta
LEVEL 4
You begin Level Four by learning a technique called “guide fingers,” which helps you emphasize the melody in a falsetta. Rubato is a widely-used interpretive element in Flamenco music. You will learn this useful technique, which “stretches” a musical selection’s rhythm. Thumb drills prepare you for advanced Flamenco techniques such as the alzapua. Following the thumb drills, we introduce the alzapua itself. We refine and perfect your hinge bar technique, as well as many others. We introduce you to the form called Tientos, which is the foundation upon which more recent styles, such as Tangos, were invented. This level comes to an end by unleashing your creativity as you create your own melodic transitions to connect chords.
Soleares, Part 12
Solea falsetta 1
Solea falsetta 2
Solea falsetta 3
Solea falsetta 4
Solea falsetta 5
Soleares, Part 13
Thumb drills 1
Thumb drills 2
Thumb drills 3
Thumb drills 4
Thumb drills 5
Thumb drills 6
Bar drill
Soleares, Part 14
Alzapua 1
Alzapua 2
Hinge bars 1
Hinge bars 2
Solea falsetta
Alegrias, Part 4
Alegrias rhythmic variation 1
Alegrias rhythmic variation 2
Alegrias rhythmic variation 3
Alegrias rhythmic variation 4
Alegrias rhythmic variation 5
Alegrias rhythmic variation 6
Alegrias rhythmic variation 7
Alegrias rhythmic variation 8
Alegrias rhythmic variation 9
Alegrias rhythmic variation 10
Modulation in Alegrias
Tientos, Part 1
Tiento compas
Degrees in A phrygian 1
Degrees in A phrygian 2
Degrees in A phrygian 3
Degrees in A phrygian 4
Degrees in A phrygian 5
Basic Tientos phrase structure 1
Basic Tientos phrase structure 2
Basic Tientos phrase structure 3
Basic Tientos phrase structure 4
Basic Tientos phrase structure 5
Basic Tientos phrase structure 6
Basic Tientos phrase structure 7
Basic Tientos phrase structure 8
Basic Tientos phrase structure 9
Basic Tientos phrase structure 10
Basic Tientos phrase structure 11
Tientos, Part 2
Tientos falsetta 1
Tientos falsetta 2
Tientos falsetta 3
Tientos falsetta 4
Tientos falsetta 5
Tientos falsetta 6
LEVEL 5
In Level Five, you will build speed and dexterity as you meet the challenge of intricate fingering passages. Your confidence level will rise as you build your power and interpretive skills. Bass-line melodies are also featured in this level. You will encounter your first non-rhythmic Flamenco form–the Granaina, which differs from most Flamenco forms, which are played in compas. Based on the B Phrygian mode, this form will develop your skills at playing variations. The Granainas will also be your first introduction to melismatic music, which characterizes non-rhythmic Flamenco music. You end Level Five with the challenge of your first Bulerias, one of the most virtuosic forms in Flamenco music. Mastery of this form is a milestone in your development as a Flamenco artist.
Alegrias, Part 5
Alegrias scale 1
Alegrias scale 2
Alegrias scale 3
Tientos, Part 3
Tientos rhythmic variations 1
Tientos rhythmic variations 2
Tientos rhythmic variations 3
Tientos rhythmic variations 4
Tientos rhythmic variations 5
Tientos rhythmic variations 6
Tientos rhythmic variations 7
Tientos rhythmic variations 8
Tientos rhythmic variations 8
Tientos, Part 4
Grace note falsetta
Grace note arpeggio
Thumb falsetta
Granaina, Part 1
Granaina, mode
Granaina, mode – view 2
Degrees of B phrygian 1
Degrees of B phrygian 2
Degrees of B phrygian 3
Degrees of B phrygian 4
Degrees of B phrygian 5
Degrees of B phrygian 6
Degrees of B phrygian 7
B phrygian scale 1
B phrygian scale 2
Granaina, Part 1
Granaina falsetta 1
Transition phrase
Transition phrase – close up overview
Extended transition phrase
Closing phrase 1
E minor arpeggio
Closing phrase 2
Closing phrase 3
Granaina, Part 2
Arpeggio falsetta 1
Arpeggio falsetta 2
Closing phrase connection
Melisma 1
Melisma 2
Legato falsetta
Alzapua falsetta 1
Alzapua falsetta 2
Legato phrase segments
Bulerias, Part 1
Bulerias mode
Bulerias compas 1
Bulerias compas 2
Bulerias compas 3
Alternative fingerings for A major
Rhythmic variations 1
Rhythmic variations 2
Rhythmic variations 3
Rhythmic variations 4
Rhythmic variations 5
Rhythmic variations 6
Non-chord tones on A major
Bulerias, Part 2
Degree variations 1
Degree variations 2
Degree variations 3
Degree variations 4
Degree variations 5
Degree variations 6
Degree variations 7
Degree variations 8
Degree variations 9
Degree variations 10
Degree variations 11
Degree variations 12
Bulerias, Part 3
Bulerias falsetta 1
Bulerias falsetta 2
Chord sequence falsetta 1
Chord sequence falsetta 2
Polyrhythmic falsetta
Bulerias, Part 4
Melodic variation falsetta 1
Melodic variation falsetta 2
Falsetta with pick up bar
Progression falsetta
Rhythmic transition 1
Rhythmic transition 2
Opening falsetta
Transition falsetta
LEVEL 6
At the beginning of Level Six, you get to show your creative side as we teach you to build your own Granainas falsettas. Level Six will begin to transform you from a skilled technician to a true artist, as you fine-tune the skills that you have already learned. You will learn the Tangos, a Flamenco form which is unrelated to the Argentine tango. At this level, you will be well-prepared for the challenge of the Fandangos, a form that requires the player to have great technical ability. You will end Level Six as you began–with an exercise in creativity, a PIT (Put It Together) piece.
Granaina, Part 3
Granaina falsetta 1
Granaina falsetta 2
Cuatromolo falsetta
Bar falsetta
Bar falsetta – view 2
Melismatic falsetta 1
Ending phrase
Melismatic falsetta 2
Legato falsetta
Tangos, Part 1
Tango compas
Basic form 1
Basic form 2
Basic form 3
Basic form 4
Basic form 5
Basic form 6
Basic form 7
Basic degree prograssion
Grace note falsetta
Tangos, Part 2
Legato bass falsetta
Triplet falsetta 1
Triplet falsetta 2
Tango falsetta
p-i falsetta
Alzapua falsetta
Fandangos, Part 1
Fandango, mode
Extended phrygian scale
Degrees of E-phrygian
Fandango compas
Basic rhythmic variations 1
Basic rhythmic variations 2
Basic rhythmic variations 3
Basic rhythmic variations 4
Basic rhythmic variations 5
Basic rhythmic variations 6
Basic rhythmic variations 7
Basic rhythmic variations 8
Basic rhythmic variations 9
Basic rhythmic variations 10
Fandangos, Part 1
Ending variations 1
Ending variations 2
Ending variations 3
Ending variations 4
Ending variations 5
Ending variations 6
Ending variations 7
Fandangos falsetta
Fandangos falsetta
Bulerias, Part 5
Bulerias rhythmic variations 1
Bulerias rhythmic variations 2
Bulerias rhythmic variations 3
Bulerias rhythmic variations 3 – alternative version
Bulerias rhythmic variations 4
Bulerias rhythmic variations 4 – alternative version
Bulerias rhythmic variations 5
Bulerias rhythmic variations 6
Bulerias rhythmic variations 7
Bulerias rhythmic variations 8
Bulerias rhythmic variations 9
Bulerias rhythmic variations 10
Bulerias, Part 6
Bulerias rhythmic variations 12
Bulerias rhythmic variations 13
Bulerias rhythmic variations 14
Bulerias rhythmic variations 15
Bulerias rhythmic variations 16
Bulerias rhythmic variations 17
Bulerias rhythmic variations 18
Bulerias rhythmic variations 19
Bulerias, Part 7
Bulerias falsetta
Sequential falsetta 1
Sequential falsetta 2
Alzapua falsetta
a-m-i falsetta
Closing sequence 1
Closing sequence 2
Closing sequence 3
Bulerias – PIT (Put it Together)
LEVEL 7
You will study cases in which some Flamenco musicians alter harmonies in order to transform traditional Flamenco music into a form which has a more modern sound, if desired. Level Seven will end with a Bulerias PIT piece in which you can create variations on this challenging form.
Tangos, Part 3
Tangos rhythmic variations 1
Tangos rhythmic variations 2
Tangos rhythmic variations 3
Tangos rhythmic variations 4
Tangos rhythmic variations 5
Tangos rhythmic variations 6
Tangos rhythmic variations 7
Tangos rhythmic variations 8
Tangos rhythmic variations 9
Tangos, Part 4
Tangos falsetta 1
Tangos falsetta 2
Tangos falsetta 3
Tangos falsetta 4
Fandangos, Part 3
Fandangos rhythmic variations 1
Fandangos rhythmic variations 2
Fandangos rhythmic variations 3
Fandangos rhythmic variations 4
Fandangos rhythmic variations 5
Fandangos rhythmic variations 6
Fandangos rhythmic variations 7
Fandangos, Part 4
Fandangos melodic variations 1
Fandangos melodic variations 2
Fandangos melodic variations 3
Fandangos melodic variations 4
Fandangos melodic variations 5
Fandangos melodic variations 6
Fandangos melodic variations 7
Fandangos, Part 5
Melodic transition set 1
Melodic transition set 2
Melodic transition set 3
Melodic transition set 4
Melodic transition set 5
Fandangos falsetta 1
Fandangos falsetta 2
Bulerias, Part 8
Bulerias falsetta
Triplet falsetta
Answer falsetta
Rhythmic falsetta
Shifting falsetta
Finale sequence 1
Finale sequence 2
Finale sequence 3
Bulerias – PIT (Put it Together)
