Bulerias Falseta Collection 1 Flamenco PDF

Falseta Collection 1
By “Flamenco Chuck” Keyser
Alegrias
Bulerias
Soleares
Siguiriyas
© Charles H. Keyser, Jr. 1986
The Academy of Flamenco Guitar

P.O. Box 1292
Santa Barbara, CA 93102
BuleriaChk@aol.com
http://members.aol.com/BuleriaChk/private/flamenco.html
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Notes on the Falseta Collections
I recorded the audio and initial transcriptions of these collections in the mid 1970's; the
video portions were recorded in 1993 (when I got laid off from my “new” career in the defence
industry (Star Wars). The transcriptions have been re-written, and video examples of some of the
Bulerias falsetas are included. The Bulerias falsetas that do not have video are: 6, 10, 13, 15, 16,
20, 21, 22, 27,28, and 29. (You can play the video from the transcription page of each falseta).
The audio and video selections are in Mpeg format; they are playable via the Windows
Media Player (Microsoft Win95) or Quicktime (MacIntosh). Free players can be downloaded
from the respective Websites.
Note: the video may glitch a little, depending on your system and/or your media player
(this is a minor problem with Windows Media Player). The actual video is complete - to hear a
“glitched” section, try starting from different points just prior to it.
There are also a number of auxiliary falsetas recorded in video, which do not have
transcriptions at this time (someday,.....). I have included them for your enjoyment, and with the
hope that if you understand the music theory, you’ll be able to take them from the video yourself.
Someday I hope to include the transcriptions as well.

Solo por Bulerias
These Falsetas are:
(Click on each to play its video) Solo por Solea
Bulerias Falseta 30 (Sabicas, A PM) Bulerias Falseta 47 (Sabicas, Am)

Bulerias Falseta 31 (Juan Maya, A PM) Bulerias Falseta 48 (Sabicas, Am)
Bulerias Falseta 32 (Juan Maya, A PM)) Bulerias Falseta 49 (Sabicas, Am)
Bulerias Falseta 33 (Juan Maya, A PM) Bulerias Falseta 50 (Trad., Sabicas, Am)
Bulerias Falseta 34 (Diego del Gastor, A PM) Bulerias Falseta 51 (Sabicas, Am)
Bulerias Falseta 35 (Juan Maya(?), A PM) Bulerias Falseta 52 (Sabicas, Am)
Bulerias Falseta 36 (Paco del Gastor, A PM) Bulerias Falseta 53 (Nino Ricardo, Am)
Bulerias Falseta 37 (Mario Escudero, A PM) Bulerias Falseta 54 (Fernando Sirvent, Am)
Bulerias Falseta 38 (Diego del Gastor, A PM) Bulerias Falseta 55 (Paco de Lucia, Am)
Bulerias Falseta 39 (Diego del Gastor, A PM) Bulerias Falseta 56 (Traditional, Am)
Bulerias Falseta 40 (Diego del Gastor, A PM) Bulerias Falseta 57 (Pedro del Valle, E PM)
Bulerias Falseta 41 (Sabicas, A PM) Bulerias Falseta 58 (Juan Maya, E PM)
Bulerias Falseta 42 (Paco de Lucia, A PM) Bulerias Falseta 59 (Pedro del Valle, E PM)
Bulerias Falseta 43 (Sabicas, A PM) Bulerias Falseta 60 (Sabicas, E PM)
Bulerias Falseta 44 (Sabicas, A PM) Bulerias Falseta 61 (Sabicas, A PM)
Bulerias Falseta 45 (Sabicas, A PM) Bulerias Falseta 62 (Sabicas Finale, A Major)
Bulerias Falseta 46 (Paco de Lucia, A PM) Bulerias Falseta 63 (Paco de Lucia, A PM)
Alegrias Falsetas (in A Major)
Collection # 1

P.O. Box 1292
Alegrias Falseta Collection 1
Falseta 1 (Source: Sabicas) Play Alegrias 01

Falseta 2 (Source: Diego del Gastor) Play Alegrias 02
Falseta 3 (Source: Mario Escudero) Play Alegrias 03
Falseta 9 (Source: Don Ramon Montoys via Sabicas) Play Alegrias 09
Falseta 10 (Source: Victor Monge (“Serranito”) Play Alegrias 10
Falseta 11 (Source: Victor Monge (“Serranito”) Play Alegrias 11
Falseta 12 (Source: Paco de Lucia; from “Piropo Gaditano”) Play Alegrias 12
Falseta 17 (Source: Traditional, the Alborada) Play Alegrias 17
Falseta 18 (Paco de Lucia)
Falseta 19 (Paco de Lucia)

Play Alegrias 01
Alegrias Falsetas
Alegrias Falseta 1 (Source: Sabicas)
Play Alegrias 02
Alegrias Falseta 2 (Source: Diego del Gastor)

Play Alegrias 03
Alegrias Falseta 3 (Source: Mario Escudero)
This is an interesting arpeggio sequence in the relative minor (F#), using diminished 7th
chords as secondary dominants.
Play Alegrias 04

Play Alegrias 05

Play Alegrias 06
Here’s a falseta that can be adapted for the Silencio (minor sequence in Alegrias), if the
sequence is shortened to the traditional 6 compases)
Play Alegrias 06
Alegrias Falseta 6 (Cont.)

Play Alegrias 06

Play Alegrias 07
Here’s a falseta with a repetitive theme, and an idea developed from one of the more
traditional falsetas por Alegrias (see also Falseta 10.)
Play Alegrias 08
This falseta modulates from the relative minor (F#m) of A major to the key of E major
(via the secondary dominant B7) before finally resolving to A major.
Play Alegrias 09
Alegrias Falseta 9 (Source: Don Ramon Montoya via Sabicas)
The first version of this falseta that I’ve encountered is that recorded by Don Ramon
Montoysa; Sabicas refined and added to it, and I’ve added a short phrase to put it in compas. It
has a nice transition from A major through A minor. The thumb keeps a strong, steady rhythm
throughout the falseta.
Play Alegrias 09

Play Alegrias 10
Alegrias Falseta 10 (Source: Victor Monge (“Serranito”)
Here’s a version of a traditional Alegrias sequence using hemiola.

Play Alegrias 11
Alegrias Falseta 11 (Source: Victor Monge (“Serranito”)
Here’s a variation of the Silencio for Alegrias. (I use a three-finger picado, ami, but you
can also use the traditional two finger picado (mimi) if it is fast enough.
Play Alegrias 11

Play Alegrias 12
Alegrias Falseta 12 (Source: Paco de Lucia; from “Piropo Gaditano”)
This is an interesting falseta from Paco’s first 45 record, similar to Nino Ricardo’s. Note
the syncopated triplets on counts 4 and 5 of the 1st and 3rd compases.
Play Alegrias 13
A nice tremolo falseta for Alegrias, again similar to Nino Ricardo’s appproach. Mario
Escudero starts one of his falsetas in a similar fashion.
Play Alegrias 14
This is a great falseta, but is difficult to play. Lots of use of modulation to Phrygian
mode, etc.
Play Alegrias 14

Play Alegrias 15
Another falseta of Paco de Lucia’s, using some phrases from Falseta 12.
Play Alegrias 15

Alegrias Falseta 16 (Source: Paco de Lucia; from “Piropo Gaditano”) Play Alegrias 16
This falseta has interesting left-hand jumps at the 2nd position and 4th positions.
Alegrias Falseta 16 (Cont.) Play Alegrias 16
Play Alegrias 17
Alegrias Falseta 17 (Source: Traditional, the Alborada)
The Alborada is an falseta used with the old (“classical”) Alegrias for dance
accompaniment just after the Ida in the transition to the Bulerias (Jaleo/Chufla) compas. I
therefore precede it with the Ida, and follow it with Bulerias in the same manner on the
accompanying recording.
Alegrias Falseta 18 (Paco de Lucia)
Alegrias Falseta 19 (Paco de Lucia)
Bulerias Falsetas
Collection # 1

P.O. Box 1292
Bulerias Falsetas - Collection 1
Falseta 1 ( Source: Agustin Rios/Paco del Gastor) Play Bulerias 01
Falseta 2 (Source: Paco del Gastor) Play Bulerias 02
Falseta 4 (Source: Diego del Gastor, Agustin Rios) Play Bulerias 04
Falseta 6 (Source: Diego del Gastor) Play Bulerias 06
Play Bulerias 09
Falseta 9 (Source: Diego del Gastor)
Play Bulerias 10
Falseta 10 (Source: “El Mellizo”)
Falseta 11 (Source: “El Mellizo”) Play Bulerias 11
Falseta 12 (Source: Sabicas) Play Bulerias 12
Falseta 13 (Source: Paco / Diego del Gastor) Play Bulerias 13
Falseta 14: (Source: Diego del Gastor) Play Bulerias 14
Falseta 15: (Source: Diego del Gastor) Play Bulerrias 15
(Continued Next Page)

Bulerias Falsetas - Collection 1 (Cont.)
Falseta 27 (Source: Uncertain) Play Bulerias 27
Falseta 28 (Source: Uncertain) Play Bulerias 28
Falseta 29: (Source: Diego Del Gastor) Play Bulerias 29

Play Bulerias 01
Bulerias Falseta Collection 1 Play Video 01
Bulerias Falseta 1 ( Source: Agustin Rios/Paco del Gastor) Key: A Phrygian Mode.
This falseta is one of Agustin’s; the first part is an excellent example of hemiola. Bar the
2 , 3 , 4th strings (only) with the first joint of your l.h. index finger, playing the ligados with the
nd rd
other available fingers (2,3, and 4). Right hand technique is all thumb.
Play Bulerias 01
Bulerias Falseta 1 (Cont.)
Play Bulerias 02
Bulerias Falseta 2 (Source: Paco del Gastor) Key: A Phrygian Mode
Play Video 02
I believe this falseta comes from Paco del Gastor, although Diego might have had a hand
in it. In any case, it is one of my all-time favorites; lots of excellent ligado and thumb work.
(The ending is my addition, imported from Juan Maya “Marote”; just one of many possible
alternatives.) You can also start the falseta on count 12, inserting an extra count just before the
final sequence.
Bulerias Falseta 3 (Source: Paco del Gastor) Key: A Phrygian Mode Play Bulerias 03
This also has Diego’s influence; a strong use of thumb/ligado. Play Video 03
Bulerias Falseta 4 (Source: Diego del Gastor, Agustin Rios) Key: A Phrygian Play Bulerias 04
Mode
Here’s a falseta of Diego’s with a picado finale of Agustin Rios’. Note the use of octaves
in the 1st and 3rd measures. Also note the phrasing of the quadruplet picado sequences, and the
ascending 3rd’s.
Play Video 04
Bulerias Falseta 4 (Cont.) Play Bulerias 04
Bulerias Falseta 5 (Source: Paco del Gastor) Key: A Phrygian Mode Play Bulerias 05
This falseta makes good use of the 2nd and 3rd positions for the A Phrygian Mode.
Play Video 05
Bulerias Falseta 6 (Source: Diego del Gastor) Key: A Phrygian Mode Play Bulerias 06
Here is a short falseta of Diego’s with some interesting syncopation and a typical use of
the thumb.
Play Bulerias 07
Play Video 07
Bulerias Falseta 7 (Source: Diego del Gastor) Key: A Phrygian Mode
This falseta is one of Diego’s trademarks. Note the interesting phrasing.

Play Bulerias 08
Bulerias Falseta 8 (Source: Diego del Gastor) Key: A Phrygian Mode Play Video 08
A good ligado exercise in the 2nd and 3rd positions.

Play Bulerias 09
Bulerias Falseta 9 (Source: Diego del Gastor) Key: A Phrygian Mode Play Video 09
Here’s another octave falseta with a syncopated ending.

Play Bulerias 10
Bulerias Falseta 10 (Source: “El Mellizo”) Key: A Phrygian Mode
This falseta (and the next one) are from Francisco “El Mellizo”, Diego’s brother. These
are some of the most haunting and beautiful Bulerias falsetas in the Flamenco repertoire, and in
the proper setting can really inpire a singer. What is most important in falsetas like these is the
notes that are NOT played........
Play Bulerias 11
Bulerias Falseta 11 (Source: “El Mellizo”) Key: A Phrygian Mode Play Video 11
Another beautiful falseta from El Mellizo.
Bulerias Falseta 12 (Source: Sabicas) Key: F# Minor (Relative to A Major) Play Bulerias 12
Agustin told me that this is one of Sabicas’ falsetas, although I’ve never discovered it on
any of his recordings. Nevertheless, it does have Sabicas’ compositional genius. You could also
think of the falseta in Bm; however, I usually perform this falseta out of an A Major chording
compas, as in the accompanying recording.
Play Video 12
Bulerias Falseta 13 (Source: Paco del Gastor/Diego del Gastor) Play Bulerias 13
(F# Minor relative to A Major)
Here’s another falseta in the relative minor to A major. I’ve heard a lot of guitarists
perform this falseta, and am not absolutely certain of its geneology.
Play Bulerias 14
Bulerias Falseta 14: (Source: Diego del Gastor) Key: A Major Play Video 14
This falseta is another of Diego’s famous trademarks. Use your 3rd finger (l.h.) for the
slides. Use picado for the right hand. The melody is a Spanish folk song “La Zarzamora” (The
Blackberry”)
Play Bulerias 14
Play Bulerrias 15
Bulerias Falseta 15: (Source: Diego del Gastor) Key: A Major
This falseta has some interesting lligado counter-rhythms in the last measures, as well as
a method of expressing chords in 6/8 time (see also falseta 25).
Play Bulerias 16
Bulerias Falseta 16: (Source: Diego del Gastor) Key: A Major
Another of Diego’s ideas. Falsetas like this are often improvised, and you get to hear
them only once, if you happen to be in the right place, at the right time.
Play Bulerias 17
Diego often performed this falseta in juergas. It is a great picado falseta in the old style.
Play Bulerias 18
Here’s another falseta of Diego’s with an octave finale characteristic of the Moron style
(see also falseta 19)
Play Bulerias 19
Here’s another of Diego’s famous trademarks. This falseta has great expressive good
humor in the appropriate situation.
Play Bulerias 20
Bulerias Falseta 20: (Source: Diego del Gastor) Key: A Minor
Here’s a falseta of Diego del Gastor in A minor. Use your thumb for this one.
Play Bulerias 21
Another falseta in the old style, using octaves.

Play Bulerias 22
Note the interesting way the phrases resolve in this falseta.

Play Bulerias 23
Bulerias Falseta 23: (Source: Diego del Gastor) Key: A Minor Play Video 24/23
Here is a melodic falseta of Diego’s; again, note the interesting resolution.

Play Bulerias 24
Bulerias Falseta 24: (Source: Diego del Gastor) Key: A Minor Play Video 24/23
Another of Diegos’s famous trademarks. He usually “bends” the “chords” a little for
expression.
Play Bulerias 25
Play Video 25
This falseta is similar to Falseta 15 in concept; it somewhat reminds me of “Autumn

Leaves”. (This brings up an interesting point. Often Diego would hear snatches of themes of
American pop music (usually from Americans at the base in Moron), and woud work them into
his toque. Americans at juergas would often be disconcerted by a Bulerias falseta with the theme
of “In a Little Spanish Town” or even “How dry I am” thrown in with all the rest of the funky
Gypsy stuff. Of course the Gypsies just thought it was more funky Gypsy stuff.
Play Bulerias 26
Bulerias Falseta 26 (Source: Diego del Gastor) Key: B Minor
Here’s a rather extended Bulerias falseta from Diego’s “Suite in B Minor”; its
construction is interesting; note the syncopation/polyrhythm (5 + 5 + 2) in the chord sequence.
One point: I play this a little differently on the tape from the way it is written. After I recorded it,
I went back and realized that the arpeggios were different from the way I learned it from Diego.
The difference is slight; on the tape I alternate basses, where as Diego arpeggiated them.
Play Video 26
Play Bulerias 26
Play Bulerias 27
Bulerias Falseta 27 (Source: Uncertain) Key: A Phrygian Mode
This falseta and the next are similar, in the old style. You used to hear these performed
quite often, but I’m not sure whose they are. Perhaps Melchor de Marchena, or Morao, but
maybe earlier. I doubt they are Diegos’s, since they have a different style, or “aire” from his.
Play Bulerias 28
Bulerias Falseta 28 (Source: Uncertain) Key: A Phrygian Mode
This falseta is a variation of the preceding one, and probably from the same source.
Bulerias Falseta 29: (Source: Diego Del Gastor) Key: A Phrygian Mode Play Bulerias 29
Here’s yet another famous falseta of Diego’s; he uses variations of this in various places,
for effect.
Soleares (Solea) Falsetas
Collection # 1

P.O. Box 1292
Soleares Falsetas - Collection 1
Falseta 1 (Source: Diego del Gastor) Play Soleares 01
Falseta 2 (Source: Traditional) Play Soleares 02
Falseta 3 (Source: Juan Maya “Marote”/ Manolo de Huelva (?) Play Soleares 03
Falseta 4 (Source: Victor Monge “Serranito”) Play Soleares 04
Falseta 5 (Source: Victor Monge “Serranito”) Play Soleares 05
Falseta 6 (Source: Victor Monge “Serranito) Play Soleares 06
Falseta 7 (Source:Sabicas) Play Soleares 07
Falseta 8 (Source: Sabicas) Play Soleares 08
Falseta 14 (Source: Don Ramon Montoya, via Sabicas) Play Soleares 14
Falseta 15 (Source: Nino Ricardo) Play Soleares 15
Falseta 18 (Source: Don Ramon Montoya/Sabicas) Play Soleares 18

Play Soleares 01
Soleares Falsetas
Soleares Falseta 1 (Source: Diego del Gastor)
This selection is actually a series of six falsetas in the tradition of Moron de la Frontera,
and in particular, Diego del Gastor. There are some interesting rhythmic ideas, so keep track of
the compas and feel the phrasing against it.
Soleares Falseta 1 (Cont.)
Play Soleares 01
Soleares Falseta 2 (Source: Traditional) Play Soleares 02
Here’s another sequence of two falsetas; you’ll hear variation of them frequently,
especially in the traditional school of flamenco guitar.
Soleares Falseta 3 (Source: Juan Maya “Marote”/ Manolo de Huelva (?) Play Soleares 03
These falsetas are reminiscent of Juan Maya’s toque, but someone told me that the last
sequence with the use of the temporary change to A Phrygian is a variation of Manolo de
Huelva’s. (You’ll also hear a similar sequence in a falseta of Nino Ricardo’s)
Soleares Falseta 4 (Source: Victor Monge “Serranito”) Play Soleares 04
This is another sequence of two falsetas; the first is an excellent example of a

“question/answer” falseta; the second is the traditional Am->G->F->E sequence (sometimes
referred to as the “Andalusian Cadence”, but with the use of passing tones (suggesting secondary
dominants) in the progression. Serrranito excels in his interpretations of the jondo (profound)
toques, although he is excellent in all of them.
Soleares Falseta 5 (Source: Victor Monge “Serranito”) Play Soleares 05
This falseta makes use of thirds (intervals) for color. Note the pickup note before the first
count of the compas, with the ligado held over until after the treble string on the 1 st count.
Soleares Falseta 6 (Source: Victor Monge “Serranito) Play Soleares 06
This is a marvelous falseta; the first stretch is difficult to be sure (if it is too much, you
can always play a similar sequence at the 7th position).
Soleares Falseta 7 (Source:Sabicas) Play Soleares 07
Sabicas is the Great Craftsman of the Flamenco guitar. He doesn’t seem to feel the
depths of the jondo toques that Nino Ricardo and Diego del Gastor interpret with such feeling;
but he is a genius at composition (not to mention his technique); he is an eminently logical
guitarist. In that sense, he is a true creative genius; he has drawn on traditional material
(especially from Don Ramon Montoya) to create his own, and his use of contrasting textures
within any solo piece is a lesson for any guitarist.
Play Soleares 07
Play Soleares 08
Soleares Falseta 8 (Source: Sabicas)
Here is a variation in an arpeggiated chord progression. I’ve changed the original a little,
since there is a section in the fourth compas where Sabicas plays it a little out of time (afuera de
compas).
Play Soleares 08
Play Soleares 09
Here’s another concert style falseta that begins identically to falseta 7. Lots of “hollow”
sounds due to the tensions when contrasting bass notes at the 7th position with open strings in the
trebles. Both Sabicas and Nino Ricardo used this device consistently and effectively.
Play Soleares 09
Play Soleares 09

Play Soleares 10
This falseta uses the G# diminished 7th chord (as a substitute for E7)
Play Soleares 11
Here’s another of Sabicas’ straightforward concert style falsetas.

Play Soleares 12
I’ve begun this falseta with a traditional compas. The second compas is interesting, both
in the use of the chord at the 3rd position and the way the melodic group is phrased against the
comops. (The basic phrase is in 6/8, beginning on the 3rd count, and is polyrhythmic to the basic
compas of Soleares) The compas ends up with a deceptively simple ligado.
Play Soleares 12

Play Soleares 13
Here one of Sabicas’s trademark ligado falsetas por soleares, where the melodic sequence
retains the character of a coherent chord progression. Note the use of alza pua (thumb
backstroke) in the third compas.
Play Soleares 14
Soleares Falseta 14 (Source: Don Ramon Montoya, via Sabicas)
The first two compases are derived (if not copied) from Don Ramon Montoya; the last
two are an addition of Sabicas’.
Play Soleares 15
Soleares Falseta 15 (Source: Nino Ricardo)
This falseta makes effective use of the 7th position and the tonal tensions available there.
It is straight forward, using the pattern for the A Phrygian mode at that position.
Play Soleares 15

Play Soleares 16
This is one of Nino Ricardo’s best falsetas; it begins as a modulation to the A Phrygian
Mode, resolving to E on the 10th count of the first compas.
Play Soleares 17
This is one of Nino Ricardo’s “monster” falsetas, and gives an excellent idea of his
creative genius in the higher positions. I’ve added half a compas (a repetition of a phrase) to his
original version to make it come out in 12 counts. As far as I know, he was the first to use 6/8
phrases as alternatives to the traditional 3/4 meter in concert style falsetas.
Play Soleares 17
Play Soleares 17
Soleares Falseta 18 (Source: Don Ramon Montoya/Sabicas) Play Soleares 18
The first three compases of this falseta is a picado sequence that is part traditional and
part Sabicas, and I have filled it out so it is in compas. The last two compases use a thumb
technicque with at thumb backstroke, also referred to as “alza pua”. Some guitarists swear that it
should be accomplished only with the thumb; I find it more convenient and faster to use my
index finger when necessary, coordinated with my thumb as indicated. This thumb technique
was first recorded by Don Ramon Montoya and later perfected by Sabicas.
Siguiriyas Falsetas
Collection # 1

P.O. Box 1292
Siguiriyas Falsetas - Collection 1
Falseta 1. (Source: Traditional):
Falseta 2 (Source: Juan Moreno):
Falseta 3 (Source: Melchor de Marchena)
Falseta 4 (Source: Niño Ricardo/Manuel Serrapi)
Falseta 11. (Source: Niño Ricardo/Manuel Serrapi)
Falseta 12. (Source: Victor Monge “Serranito”)
Falseta 13. (Source: Sabicas)
Falseta 14 (Source: Sabicas)
Falseta 15 (Source: Sabicas)
Falseta 16 (Source: (Sabicas)
Falseta 17. (Source Paco de Lucia)
Falseta 18 (Source Paco de Lucia)

Siguiriyas Falsetas
Siguiriyas Falseta 1 (Source: Traditional): Siguiriyas 01
This is a series of “filler” falsetas that can be used between letras (sung verses) of the
cante, or for the accompaniment of the taconeo sections of the dance. Note the use of alza pua
(up/down thumb strokes) on the Bb chord, and the emphasis on thumb/index finger combinations
in the last part of the falseta.
Siguiriyas Falseta 1 (Cont.) Siguiriyas 01
Siguiriyas Falseta 1 (Cont.) Siguiriyas 01
Siguiriyas Falseta 2 (Source: Juan Moreno):
Siguiriyas 02
This falseta suggests a call to the singer for entrance to the cante.
Siguiriyas Falseta 3 (Source: Melchor de Marchena) Siguiriyas 03
Melchor de Marchena uses the pentatonic scale in this falseta; it is one of his “propio
sellos (trademarks).
Siguiriyas Falseta 4 (Source: Niño Ricardo/Manuel Serrapi) Siguiriyas 04
This falseta is from Niño Ricardo, although I first heard it on a recording by Juan “El
Africano” It makes use of the relative harmonic minor to A Phygian (D minor).
Siguiriyas Falseta 5 (Source: Diego del Gastor)
Siguiriyas 05
Here’s a Siguiriyas falseta typical of Diego’s juerga approach.
Here’s another falseta of Diego’s, again strongly suited to the juerga.
Siguiriyas 06
This is actually two falsetas, again in a juerga style. Note the interesting chromatic
sequence in the 2nd part. Siguiriyas 07
This is a famous falseta of Niño Ricardo’s, using large interval jumps in the melody (as
far as the physical layout of the guitar is concerned), and some interesting compas phrasing.
Another falseta of Niño Ricardo’s which is in every guitarists’ repertoire at some time or
the other. Note the interesting use of the relative minor (Dm and Gm chords).
This falseta is a favorite of dancers, especially the octave sequence (Nino Ricardo makes
excellent use of octaves as a melodic device).
I think this falseta is one of the most beautiful in all flamenco, and is example of divine
inspiration from Nino Ricardo. Note the use of octaves and the fascinating chord in measures 13
and 14 (often used in TarantoTarantas when transposed to open position for use in F# Phrygian
mode.)
Siguiriyas Falseta 11 (Cont.)
Siguiriyas 11
Siguiriyas Falseta 12 (Source: Victor Monge “Serranito”) Siguiriyas 12
For me, this falseta is almost the equal of the previous one, and is a good example of
Serranito’s expressive approach to the toque jondo.
Siguiriyas Falseta 13 (Source: Sabicas)
Siguiriyas 13
This falseta suggests a call to the singer, or can be used as a dramatic opening for a solo
in the concert style.
Siguiriyas Falseta 14 (Source: Sabicas) Siguiriyas 14
Here is a typical Sabicas falseta in the concert style. Note his use of open string chords in
th
the 6 position.
Siguiriyas Falseta 15 (Source: Sabicas) Siguiriyas 15
Here is a melodic falseta, using a slide effect in measure 2 and octaves in measure 6.
Siguiriyas Falseta 16 (Source: Sabicas)
Siguiriyas 16
Here is another dramatic “call” falseta, one of Sabicas’ best.
Siguiriyas Falseta 17 (Source Paco de Lucia) Siguiriyas 17
This falseta is not phased in the customary alternating measures of 3/4,6/8, but is straight
6/8 (until the final measures), and is an example of a guitarist purposely abandoning the rules of
rigid compas for an artistic effect. However, it is the musical genius of Paco de Lucia that makes
it possible to be effective within the Siguiriyas form.
Siguiriyas Falseta 18 (Source Paco de Lucia) Siguiriyas 18
Another falseta of Paco de Lucia’s, showing his interest in counter-rhythmic musical
figures (note the 1st and 2nd measures.)

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Falseta Collection 1

By “Flamenco Chuck” Keyser

© Charles H. Keyser, Jr. 1986

The Academy of Flamenco Guitar

Someday I hope to include the transcriptions as well.

Bulerias Falseta 30 (Sabicas, A PM) Bulerias Falseta 47 (Sabicas, Am)

© Charles H. Keyser, Jr. 1973

The Academy of Flamenco Guitar

Falseta 1 (Source: Sabicas) Play Alegrias 01

Falseta 3 (Source: Mario Escudero) Play Alegrias 03

Falseta 4 (Source: Mario Escudero) Play Alegrias 04

Falseta 5 (Source: Mario Escudero) Play Alegrias 05

Falseta 6 (Source: Sabicas) Play Alegrias 06

Falseta 7 (Source: Sabicas) Play Alegrias 07

Falseta 8 (Source: Sabicas) Play Alegrias 08

Falseta 9 (Source: Don Ramon Montoys via Sabicas) Play Alegrias 09

Falseta 10 (Source: Victor Monge (“Serranito”) Play Alegrias 10

Falseta 11 (Source: Victor Monge (“Serranito”) Play Alegrias 11

Falseta 12 (Source: Paco de Lucia; from “Piropo Gaditano”) Play Alegrias 12

Falseta 13 (Source: Paco de Lucia; from “Piropo Gaditano”) Play Alegrias 13

Falseta 14 (Source: Paco de Lucia; from “Piropo Gaditano”) Play Alegrias 14

Falseta 15 (Source: Paco de Lucia; from “Piropo Gaditano”) Play Alegrias 15

Falseta 16 (Source: Paco de Lucia; from “Piropo Gaditano”) Play Alegrias 16

Falseta 17 (Source: Traditional, the Alborada) Play Alegrias 17

Falseta 18 (Paco de Lucia)

Falseta 19 (Paco de Lucia)

Alegrias Falseta 2 (Source: Diego del Gastor)

Alegrias Falseta 3 (Source: Mario Escudero)

Alegrias Falseta 4 (Source: Mario Escudero)

Alegrias Falseta 5 (Source: Mario Escudero)

Alegrias Falseta 6 (Source: Sabicas)

Alegrias Falseta 6 (Cont.)

Alegrias Falseta 6 (Cont.)

Alegrias Falseta 7 (Source: Sabicas)

Alegrias Falseta 8 (Source: Sabicas)

Alegrias Falseta 9 (Cont.)

Alegrias Falseta 10 (Source: Victor Monge (“Serranito”)

Here’s a version of a traditional Alegrias sequence using hemiola.

Alegrias Falseta 11 (Source: Victor Monge (“Serranito”)

Alegrias Falseta 11 (Cont.)

Alegrias Falseta 12 (Source: Paco de Lucia; from “Piropo Gaditano”)

Alegrias Falseta 13 (Source: Paco de Lucia; from “Piropo Gaditano”)

Alegrias Falseta 14 (Source: Paco de Lucia; from “Piropo Gaditano”)

Alegrias Falseta 14 (Cont.)

Alegrias Falseta 15 (Source: Paco de Lucia; from “Piropo Gaditano”)

Alegrias Falseta 15 (Cont.)

© Charles H. Keyser, Jr. 1974

The Academy of Flamenco Guitar

Falseta 2 (Source: Paco del Gastor) Play Bulerias 02

Falseta 3 (Source: Paco del Gastor) Play Bulerias 03

Falseta 4 (Source: Diego del Gastor, Agustin Rios) Play Bulerias 04

Falseta 5 (Source: Paco del Gastor) Play Bulerias 05

Falseta 6 (Source: Diego del Gastor) Play Bulerias 06

Falseta 7 (Source: Diego del Gastor) Play Bulerias 07

Falseta 8 (Source: Diego del Gastor) Play Bulerias 08

Falseta 11 (Source: “El Mellizo”) Play Bulerias 11

Falseta 12 (Source: Sabicas) Play Bulerias 12

Falseta 13 (Source: Paco / Diego del Gastor) Play Bulerias 13

Falseta 14: (Source: Diego del Gastor) Play Bulerias 14

Falseta 15: (Source: Diego del Gastor) Play Bulerrias 15

(Continued Next Page)

Falseta 16: (Source: Diego del Gastor) Play Bulerias 16

Falseta 17: (Source: Diego del Gastor) Play Bulerias 17