Classical & Flamenco Guitar Technique Mastery

1. Classical & Flamenco Guitar Technique Mastery Promo: Would you like to play cleaner, faster, and with a better sound? Whether you are just starting with classical or flamenco guitar or you have been a self taught guitarist for many years, the real problem is usually the same technique. In this course, I guide you through step by step with over 60 lessons designed to build a strong reliable technique in both hands. We will look at left hand techniques like barre work, hammer on pull off exercises, and finger independence. Classical guitar techniques like peed go, Tirando or classical tremolo. And flamenco guitar techniques like Picado, Alzapua, Spanish guitar, drumming techniques, Pulgar, and many more. Strong technique changes everything. When your hands work with you, instead of against you, music will become easier, more expressive, and more enjoyable. And row now and start building the technique your music deserves. 2. Introductiom: Hello guitaristas. My name is Edina, and I will be your instructor in this course. And in this course, we are going to look at a series of classical and flamenco guitar techniques to improve your sound on the guitar. So hopefully, after this course, you will sound stronger, smoother, and faster. We will look at the right hand and the left hand as well. The left hand is pretty similar in classical and flamenco guitar as well. And in the left hand techniques, we will look at slur. So for example, Homer on slide, vibrato, pull off, we will look at bay exercises, stretching and flexibility exercises, and fixed finger and position exercises as well. For example, the spider exercise. And after we will go into write and techniques, which is different in flamenco and classical guitar. And in classical guitar, we will look at the arpeggios, we will also look at the Tirando, which is playing melodies in classical guitar and the tremolo. And in flamenco guitar, we will look at many other techniques as well, for example, sguiados, Picado, strumming techniques in Spanish guitar, Pulgar, Alzapua among many others. Hopefully, after this course, you will find it easier to learn new songs, and hopefully your sound will improve and it will be cleaner, smoother, and you can play more beautifully. So let's get into this course. 3. Using the Metronome as a Practice Aid with Exercises: In this course, we are going to use the metronome to improve or technique, and it is important to know how to play with the metronome and how to work with the metronome. Before when I started to play the guitar, I didn't use the metronome, and my rhythm sense was all over the place. But once I started using the metronome, I became more punctual, faster, cleaner. So it's a really amazing tool to make you a better guitarist. I'm going to show you a few exercises, how to change ton with the metronome because that's what we are going to do later in the course. We will play four notes per beat, three notes per bit, six notes per bit using the metronome, so then you can do these exercises with a certain speed and punctuality. Let's have a look at our exercises. Let's set our metronome to 60 BPM and let's start it. Our first exercise will be just to clap with the B. How do you know if you were on time? If you couldn't hear the matronom beep when you were clapping, it means that you were on time. But if the matronom beep is somewhere in between your claps, you need to do a few things to be more on time. One thing that you can do is to move your leg with the beep. It will help you to feel the rhythm much more because your whole body is moving with the rhythm, or you can just move your feet. Now, this is very common among musicians, and I'm pretty sure when you went to a gig, you could see that some people were moving the leg with the rhythm because then it will help them to feel the whole music more and be more on time. Our second exercise will be clapping two notes per bit. If you were clapping like this, it means that you were not on time because every clap should be evenly distributed. So it will sound like this. Also, the second clap needs to be exactly in the middle of two beats, and it is also called the offbeat. The third exercise will be clapping three notes per bit. Again, if you were clapping like this, it means that you were not on time because everything should be evenly distributed. Actually, when you clap like this, it means that you are clapping four claps per bit, but you are skipping the last bit. So it should sound more like this. There are one thing as well that you can do here to be more on time is to make oxens. So you can clap one lot clap when you are on the metronome beat and everything else is a little bit quieter. So it will sound like this. Exercise four will be switching between two claps per bit to three claps per bit. Now, this can be very challenging at first, especially if you haven't done this before because there is a fine difference between two claps and three claps per bit. So let's try to do this at 60 PM. At first clapping twos and after switching to clapping stres. Et's try to switch. Switch back. Great. Now we are going to do an exercise. At first, we are going to do four, two claps per bit and after four, three claps per bit. One, two, three, four, Now, we will do, two claps per bit, switching to two, three claps per bit. Finally, we are going to switch after every bit. It's good to do these exercises at different BPMs. So I'm going to show you how it sounds when we do it at 80 BPM and then we do it at 40 BPM. Now, the slower you go, the more challenging it will get. And at 40 BPM, even for me, this is quite hard. Exercise five will be clapping four notes per bit. Now you can do a few more things to be on time, and it helps if you count before you start clapping. So now you can count four before you start clapping. One, two, three, four, one, two, three, four, one, two, three, four, one, two, three, four. One, two, three, four, one, two, three, four, one, two, three, four. You can also do the counting with algorithms. So let's count in three. One, two, three, one, two, three, one, two, three, one, two, three. Let's count in two, one, two, one, two, one, two, one, two, one, one, one, one, Our final exercise will be to switch between these returns. So we are going to do for one clap for two claps, for three claps, for four claps per beat, and after we will bring it down to three, two, and one. It's good to practice the final exercise again at different BPMs. So go ahead and try it at 80 BPM and try it at 40 BPM as well. 4. Sitting Positions and Thumb Position: Before we start the course, let's have a look at the seating positions with the guitar. I am actually a classical and a flamenco guitarist, so I play both of these ties, and there is a difference between the seating position in classical guitar and flamenco guitar. In classical guitar, they are a little bit more strict how you need to sit. And it is basically that you use a footstool, and then you place your left leg to the footstool, and the guitar to the left leg, and then you play the songs this way. In flamenco guitar, the rules are a little bit more loose, so you can choose where you place your guitar. You can just place your guitar onto your right leg like a folk guitarist or a finger style guitarist, or you can just cross your legs. I like to cross my legs and place it on the top, so the guitar is a little bit higher and then playing like this. Some male guitarists like to cross the leg in a different way and play it like this or crossing the other way around and playing it like this. You can also use the footstool as well for this one and play it like a classical way, or you can just place the guitar in a little bit in the middle to both of the legs when you play. The other important thing we need to have a look at is the thumb position. The thumb in classical and flamenco guitar is usually in the back of the neck in the middle. So it's okay sometimes to have the thumb on the top, but it will stop you to play a lot of different things if you have it too high up. For example, this is one way to play an A major chord in classical and flamenco guitar. And then if the thumb is too high, you can't do the chord variations. For example, this is a ninth chord, an A major odd nine chord. It's very difficult. But once your thumb is in the right position, then you can play it more easily because you have more space with your fingers. 5. Nail Care: Today, I'm going to talk about Nir ke in flamenco and Spanish guitar because so many people were asking me about this one. Now, I just want to say that I'm super lucky because I'm genetically gifted. I have very good hair and I have very strong nails. So I don't have to do so much with my nails, but I can tell you a few tips what you can do to make your nails stronger. At first, let's have a look at the length. As you can see, on my left hand, I have absolutely no nails. It is because if you have some nails, it will stop you to play certain chords, and it will also stop you to transition smoothly on the guitar neck from position to position. On the right hand, I have a little bit of nails. I know classical guitarists have longer nails, but in flamenco, for certain techniques, you need to use the skin and the nails together. So it needs to be exactly like this if you can have them, and it will strengthen your playing as well. Also, if you look at the side, it needs to be shaped down. Otherwise, it can stock into the strings when you play, for example, flamenco triplet or something like that, where you need to turn your wrist. To strengthen your nails, you can use, like, a transparent nail polish. And I know it looks a little bit bad on guys, and also guys don't like that they have nail in one hand and not in the other one. But think about yourself that you are an artist, and this is part of your identity. So this way, you can accept it a little bit more to look a little bit more girly on the right hand. If you don't want to use transparent nail polish, you can take certain supplements to strengthen your nail. I take a supplement which is really amazing. It is called spirulina, and it is blue and green algae. And it has an octaive supplement called spermidin which is a lot inside in this, but also it has, like, a lot of vitamins. It's very beneficial, and it helps you to strengthen the nails and hair. I have a student actually who started taking this supplement, and she told me that she saw some difference. But of course, everybody is different. You can try it if you want to. Also, some people really go crazy with their nails and they even use fake nails. I wouldn't recommend it so much because the nails needs to breathe and with the fake nail, you stop the nail to breathe so you can ruin the quality. 6. Spider and Fixed Finger Exercises: Today, I'm going to show you three spider or fixed finger exercises which will help your position. After this lesson, you can learn something like this. Why are these exercises so good for you? If you have a bad technique, I'm always giving these exercises to my students to correct their bad technique because with the first exercise, it is teaching you how to stay curved because that's the only way to do it, how to move the fingers independently, how to stay close to the fretboard, and how to be straight instead of sideways when you are playing this exercise. So let's have a look at it. In the first exercise, we can start anywhere, but in this case, we will start on flat five, but of course, you can start on fret one as well. On flat five, it will be a little bit easier. We will place the fingers one by one, index, middle, ring, little, and we need to stay in this position. And after we will move the fingers one by one to play the string which is below, in this case, it is the A string. This will be very difficult for some of you because if you are not curved enough or straight with your position, then you won't hear the sound. So you will hear this. In this case, you need to stop. You need to curve the fingers more and find where is the problem. You can do this exercise going up as well. It will be much easier because you need to be exactly curved to make it sound. In the real life, you are not really playing like this because you are not staying in one position and moving fingers one by one. But this exercise is still amazing to improve how you play in real life. The next exercise is an other fixed finger exercise. And in this case, we will just play the G string. We stay in this position, and after we will just move the fingers one by one while we are still keeping the structure and the technique. So it will be index finger up and down and then up two strings and down two strings. And finally, up three strings. And we will do this with every other finger. The final exercise will be that we will stay in position again. So we play from the fifth fret on the G string. And at first, we will move together the index and middle finger, and we move one string up and down, and then switch, and then two string up and down, and then switch. Oh Probably the last one is the hardest. Well, for me, it's a little bit awkward position to play this together and stay in position. And finally, you can do some combinations with the fingers so you can move together the index and ring finger and the middle and little finger and the index and little finger as well. 7. Introduction to Slurs: In this course, we are going to learn with a series of exercises, the hammer on, the pull off, the slide, and the vibrato technique. And hopefully by the end of the course, you will have a strong left hand legato technique. Now, let's get into it. 8. Hammer-on and Pull-off Lesson: We are talking about legato techniques in this course, which literally means tie together. It means that one note smoothly transitioning to the second note without any stop. And this can be achieved with few different ways that first, we are going to have a look at the hammer on and pull off techniques to achieve this sound. This will also mean that we will only play once with or right hand and we will add the second note with or left hand. And you can play with your right hand in many different ways. If you want, you can play with your thumb. Or you can do a picado, which means an alternate picking between the index and middle finger, why you are pulling up to the next ring. You can also play with a plectrum. It is really up to you because this course will be mainly about the left hand technique. The first technique will be a Hamron. Haron means that we will play one note and we will add a second note with a different finger on the left hand, why we are playing only once on the right hand. And the reverse version of this technique is called pull off. In this case, you are going to pull it off one node to the next one to create a sound, so it will sound like this. A lot of people have very weak pull off, and it is because of the technique they are using. Lot of people doing like a backward Tamron instead of pulling off. So backward Tameron means that you are not behind the finger that you need to be but you just go like this. This is not strong enough with the sound. You really need to be behind with another finger to make it sound. The second thing that you need to do that a lot of people don't do is pulling it down. So they just, like, play and lift it up. And it is just not strong enough. You need to literally pull it down and release. Some people can also achieve a sound without releasing, but they still pull it down, and in the end, they end up on the string below. So it will be like this. Maybe this works better on an electric guitar, but in a classical or an acoustic guitar, I always recommend that you pull it down and then release it to the air to have the best sound as possible. A lot of people are rushing harans and pull offs. Now, this is just a right hand technique and the way you play this right hand technique. It's important to be still on time when you are playing this technique. So that's why you need to practice this slow as well and be able to speed up later on. So instead of doing it like This was very out of time. This is actually in capricho Arab, which is Francisco Tarega song, and it's using a lot of pull offs. But you need to practice this slowly, and every note should be the same. So then it will sound much more even. So in this case, you need to slow down the whole music and make sure that every note is the same distance. Now, let's get into the exercises. 9. Hammer-on Finger Exercise: Our first exercise will be a Haron finger exercise where we will look at all the different combinations that you can do to play Haron. And this will be at first, indexed to the middle finger, and then we will do it with every different strings. A and then we will have middle and ring finger. And finally, we will have ring and little finger. And then we can do some other combinations as well. And this will be from middle to the little finger and index to the little finger. And finally, from the index to the ring finger. Now, I'm going to show you this exercise in two different speeds. Mm. 10. Pull-off Finger Exercise: Our next exercise will be very similar to the one before, but now we are going to use this finger combination to do pull offs. So at first, we will pull off from the middle to the index finger and we will do it in every single string. And we will do it again from the ring to the middle. And we will do from the litter to the ring. After litter to the middle and litter to the index, and finally ring to the index. Now, let's do this exercise again in two different speed. Well, this exercise is considerably harder than the exercise before. But the more you do it, the easier it will get and the more strength you will have in your hands. 11. Hammer-on Coordination Exercise: Our next exercise will be a heron coordination exercise, and in this case, we will add herons again in a lot of different ways with a lot of different fingers and combine them in all the different strings. And it will look like this in one string. Now, this exercise again, gets harder in a higher speed, but I suggest you to practice this at a slow speed first, and I'm going to show you and record you this exercise in two different speeds. 12. Pull-off Coordination Exercise: Our next exercise is the pull off coordination exercise, which is, again, very similar to the hemron one, but we will do everything in reverse. So it will sound like this on one string. This will be, again, so much harder than the hemron exercise. And when you go higher with the speed, it gets even more tricky. So practice this at slow speed before you speed it up. Now I'm going to show you again in two different speeds. 13. E Phrygian Scale: Now we will have a look at how you can play these kind of techniques when you use a scale. And we're going to learn the E frigion scale, and we will do some exercises on that one. We chose this scale because it's part of the C major scale. So it means there are no sharps or flats in it. Now, let's see the nodes of this scale. We have zero, one, three, zero, two, three, zero, three, zero, two, zero, one, three, zero, one, three. Now we are going to play this scale on the way down only with harons. It means that you only play one string once. And when we go up, we will do it with pull offs. And again, we will only play the strings once with one finger. 14. Four Notes per Beat Hammer-on Exercise: Next exercise will be again on the E frigion scale. And this will be a four notes per bit heron exercise. Now before we do this exercise, at first, you need to practice it without adding the herons. So this will be playing four notes from the scale and after go to the second step and then you play another four notes. So it looks like this. One, two, three, four, one, two, three, four, one, two, three, four, one, two, three, four, and so on. Now, let's see how does it sound with the metronome. Now I'm going to do the same exercises. The only difference will be that I'm going to do hammerons wherever I can. So it means that I'm going to play every string only once. 15. Four Notes per Beat Pull-off Exercise: The next exercise will be very similar, but we will do the four notes with pull off exercises. It will be at first, again, just playing the notes before we do the pull offs. So it will be one, two, three, four, one, two, three, four, one, two, three, four, and so on. Now let's do this with a metronome, again at two different speed. Now, let's do the same exercises with pull off. So it means we only play one string once, and everything else will be the same with the left hand. 16. Hard Flamenco Exercise: Our final exercise on the Hameron and pull off will be a flamenco guitar exercise. It is super hard, so don't be discouraged if you can't get there straightaway. So the exercise will be that we will play one chord and after we will do hammer on, pull off, pull off, hammer on, hammer on, pull off, pull off. And then we will play another chord and we will repeat this. Now, you can do this hammer on and pull offs on a way that you use your ring finger or you can use the little finger. A lot of people use the little finger because you can hammer on a little bit harder with the little finger, but you can do the same exercise with the ring finger as well. Now, let's do this with a metronome. 17. Slide and Vibrato: We will have a look at two more techniques to finish this course, and this will be the slide and the vibrato. The slide is a part of legato technique because you are smoothly connecting two nodes together with it. But there are two types of slides. One of them is called the legato slide when you just play once between two nodes. And then there is the shift slide when you play the node again, but you slide between the two nodes. The vibrato is a technique where you elongate a node. So you make it sound a little bit nicer. The way to do it that you go very quickly on the sideways with the finger. Et's look at some exercises to practice our legato slide first, and after we will do a shift slide exercise with some vibrato. In the first exercise, we will just use all the different strings and the index finger to slide from one to the third fret. And after we will do the same with the middle finger, ring finger, and little finger. And so on and middle is the same. Mm and drink and finally little. Now, let's do this with a metronome. In our final exercise, we will add shift slide with a vibrato with all the different fingers in all the different strings. So it will look like this. Oh 18. Hand Warm-up Exercises: We will look at four different exercises to improve your finger flexibility. But before we go on to these exercises, I would like you to check where you are now with your finger flexibility. To do that one, you just hold the fifth fret of the top E string and try to reach with your little finger on the bottom string as far as possible. If it is the eighth fret, you note that this is the one that you can reach. And then hopefully within the period of time that you practice these exercises that I'm sharing with you, you will improve this flexibility. So for me, it is the 11th fret. Before you start these exercises, it is great to warm up your fingers, and then you will be more ready to reach higher or further on the guitar. Now, to do that one, at first, you can just massage your fingers. Now we are concentrating mainly on the left hand because that's where we will improve the flexibility. But of course, you can do it in both hands. And to massage, you just pull the skin towards the end of each fingers and you just go through them one by one. Also, it is good if you have a good temperature in the room because if your fingers are cold, they are not as flexible when you are warm all over in your body. Great. Once you did this one, you can just push away with your other two fingers on the other hand, and then try to, like, try to be more flexible with each of the fingers. So just pushing it away and opening up all the ligaments. Great. And then you can also, like, massage everything at the same time and then push inside the fingers. Or trying to pull it outside. Some people can pull this way more than me. I think that's a genetical thing. But you don't have to be so flexible to reach the flexibility that you want to because everything can be improved. Alright. Now, let's go into our exercises. 19. First Exercise Stretching the Little Finger: The guitar neck is wider towards the tuning keys, but narrower towards the bridge. And that's what we will use to improve our flexibility and do all of these exercises. So the first exercise will be that we will hold a C major chord, but without the barry shape with the E shape on the neck, so it will be eight, ten, ten, nine, and we will play Tomb, index, middle ring finger. And in the next round, we will go one fret forward with the little finger. We will reach a ord, which is called flat nine, which is a very beautiful cord. And we will go one more fret forward with the little finger in the next round, and we will be reaching the ninth chord or add the ninth chord and then back. And once we finish one round, so then we will go one flat down and repeat the whole thing and it will get harder and harder the more you go down towards the tuning keys. Now, this will be very challenging when you do the same in the first few frets. So don't be discouraged if you are not having a good sound when you do it, but work towards it to reach it there. 20. Second Exercise Stretching the Index Finger: In our next exercise, we will work on the flexibility with the index finger. And in this case, we will start the exercise again on the eighth flat on the C major chord. So this is the E barrel shape, but without holding a barrel, and then we are going to reach back one flat forward and one more fret forward once we do the rounds with the thumb index, middle, and ring finger. Oh 21. Third Exercise Reverse Stretching: Our next exercise will be a reverse stretching exercise. And in this exercise, we will start on seven and then nine and 11. So we will be skipping one fret in between each of the fingers and we will play Tomb index middle ring. Once you did one round, you will switch over. So we will be at 1197. And then you will go down towards the first few frets. So it will get harder and harder the more you go down. 22. Fourth Exercise Barre Stretching: Our last exercise is super hard. So practice these previous exercises first before you go into that one. So we will do the little finger stretching again. But this time, we are going to hold a barry. So it means that you will play all of the strings, and then in the next round, you move the little finger forward one. For this exercise, you need to have a really strong barry to sound clean, and you also need to have a good way of flexibility. Once you did one round, then you go down to a minor chord in the A minor shape, and you repeat the same thing. Now, this exercise will be very difficult in the first you frets, but, of course, work towards it. And once you are close to it or able to do it, then you definitely have a strong body and a good flexibility. Even for me, it's not like exactly clean, but it is something that I'm working on as well. 23. Top 5 Techniques to Hold a Better Barre: Today, I'm going to show you five tips to improve your barry hood. After this lesson, hopefully you will play smoother and nicer when you are changing in between the barris. I know a lot of you have this kind of issue, especially if you started just to play the guitar that you really want to hold the bay properly and nicely and clean, and this is something that you really need to do if you would like to play the guitar. Of course, you can go for a long time without playing the vary, and it is possible to play a lot of different pieces. But if you would like to go really further and you would like to become an advanced guitarist, it is really vital to learn how to play bay. So how do you play a bar or what are the most common bare cords? So there are two shapes of the Brey cords, which are used a lot, and it is the E shape, which is the E major or E minor. And when you hold a barry, what you are doing that you are holding your index finger straight and everything else curved. And you hold the same shape. But now your index finger is replacing the end of the neck. Yeah. And of course, there is one more shape which is really common, and it is A shape, so it is A major or A minor. So then you just need to push it forward and replace the bay with your index finger, which is straight. And you can hold this anywhere. Okay, the first thing that you need to do when you start learning the barry is have the proper position. That is that you have to be straight with your index finger and everything else is curved. It doesn't matter which shape you are holding, but your index finger is always straight and everything else is curved. And you don't put so much effort to push it down. Of course, at the beginning, it is quite tiring to push it down because you need to develop the muscles. But you are pushing a tiny bit and you are also placing your arm on a way that you don't have to push too much. So your arm is not like there, but more like pulling a little bit. So you are pushing a tiny bit, but not so much that it is not that tiring and you are also pulling. Of course, the type of guitar you play is influencing this as well, because some guitars are quite difficult to play, and the more you go towards the 12 fret, the harder it is to hold the bar is because the strings are quite far away. I have a flamenco guitar, so the strings are quite close. So that's why it is a little bit less effort to play apart. The next thing that a lot of people make as a mistake and that's why they cannot change in between cords quite quickly is that when they start to hold the bares, you start to put bomb on the fingers, and it just takes so much time. You have to learn to hold the shape already in the air and then place it down. So how you do it, then you know that your index finger is straight, everything else is curved. So you kind of holding the shape in the air, and then you place it. But everything needs to come together because if you place every finger one by one, it just takes so much time and you won't be able to change quickly in between chords. And then you always like pulling one by one, everything. It's just not possible to play any songs quickly like this one. So you have to restart again and you have to learn to place every finger at the same time and forming the shape in the air already. Okay, now you learned that you don't need to put so much effort to push it down and you pull from your arm, and you also placing all the fingers together to the frag board. The next tip that you need to do, you need to check if it is clean. So how do you check if it is clean? That you basically hold any vary that you are practicing, and then you go one by one with the strings and you try to play everything. And if everything sounds clean, then you are fine. But if you hear this, for example, you know that something is wrong, and in that particular string, you need to change the position. So if it is the last one, you need to push from the last one. Sometimes people touch with the little finger, the next string, so this is not clean. So it means that you need to push a little bit forward, the little finger, and then you try again. And, of course, you can hold in many different positions, this barring. And if you know that most of your problems is, for example, on the E string, there is an exercise that you can do. And the exercise will be just to hold the barras, and you do like a picado, which means you play an index and middle finger and you end up on the next string. And you play, for example, four notes on each of the positions and after you go one fret forwards or one frat backward, and you play the next chord. So it could be like this. Now that you were working on the three steps before or three tips before, the next thing that you need to do, you need to work on making very little movements when you are changing. So it means when you wear the bar, you don't, like, lift up your whole hand and jump around. You need to be quite advanced to jump around and play like this, but rather pull. So you don't even lift up your hand, and then you are changing position, for example, here to here, then of course, you need to, like, lift it up, but you still make very little movements. So you need to practice without playing anything to change. As you can see, I'm like, hardly making any movement, and that's the reason why I can change in between ballets quite quickly. There is one exercise actually that you can do because a lot of people struggling to change to this position, which is the A major position. I'm holding actually D major in the A major position. And then what you can do is to change from the A major position to the A minor. So how do you do that one? At first, you need to learn to move the fingers together. So it means that your ring finger and little finger moves together, and even you need to push them together, they stuck together. They don't move separately. So the first thing that you can practice is just to move these two fingers in between strings. They don't move separately, they move together. Once you can practice that one, you can add the middle finger. So they do the same movement still, the index finger is staying in the same place, but the middle finger is changing. To make it even easier, you can move your arm a tiny bit to have the movement. And the final tip that I'm going to give you that you already learned all of these tips before, then you shouldn't stop with your strumming when you change chords. A lot of people do this mistake that they play on chord. And then they need to change, so they stop and after they change. I know this is quite difficult because you need to separate the two hands in between each other, but you shouldn't really stop strumming. And even if you don't sound clean, you should not stop strumming. Even if you don't go to the next cord on time, if you keep strumming, it means that it sounds a little bit more fluent and even if can see or hear a little bit, it is not as noticeable than when you just stop in between each of the cords. So don't stop strumming. 24. Barre Exercise: Today, I would like to share with you a barry exercise. We will hold the barry on the E position, and step by step, we go through the neck and in each steps, it gets harder and harder the exercise. And we will use also a metronome so we will be on time. And then let's just get into it. First step on the first step, we will only use our index finger, and we can use the middle finger to support the index finger. The index finger has to be straight and just behind the fret, and you can hold the middle finger to support it. And we will need to play each of the strings, and everything has to have a clear sound. So it's supposed to sound something like this. So this was a clear sound, but if you hear something like this, you need to stop the technique and correct your position and go back. And now we will use the metronome which set 100 BPM and we will start going through the neck. Second step. On the second step we start using or middle finger, which should be on the third fret from the bottom. So it is on the D string. So then you place your index finger straight, your middle finger curved, and then you will do exactly the same exercise. But again, if you hear a note like this, you need to stop, correct your position, and then start again. And we will go through again on the neck. You can go as high as you want, and then you can just turn back and go back to the first spread. A third step. In the third step, we will use or barry hood and ring and little finger, and then we will hold the E minor position, which is this one. And then, of course, when we start using it, then it will become F minor. And then F sharp minor and G minor and so on. And we will start doing the same exercise. Fourth step. On the fourth step, we will hold the E dominant cord, which is this one. So it's only with bare and ring and middle finger. And we will do exactly the same exercise, we are not using the little finger, and we will go through one by one on the neck. Mm. You can do these kind of rounds up and down, up and down as much as you want. The main thing is that don't go one step higher up until you can't play the step properly. And finally, the fifth step will be holding the proper E major position on a barret hold. And again, we will do the same exercise 100 BPM, playing string by string, everything. 25. Introduction to Arpeggios: In this course, we are going to learn the four basic finger picking exercises or some people call it peedjo and it is also more like an arpeggiated chord because the real pejo is when you play on a scale, the first, the third and the fifth note, or the first, third, fifth and seventh note. But these are mainly just finger picking exercises to play on chords. We will do all of these exercises on a way that we will play open chords. So the first chord will be E major. And after we will have an F open chord, which means that we are not holding a full barrel, we just hold the top of the F chord and after we will go to F sharp open, and then G major open, and so on. And you can go all the way up and all the way down on your guitar when you are practicing these finger picking exercises. Also, what we are going to do we will do a working bassline, which means that we will play with or tmp first the E string, and then we are moving down to the A string, and then we go to the D string and back with the Astring. And then we will add the pattern to the bottom of the string. There is one thing common with these exercises that you will always place your ring finger to the E string, your middle finger to the B string, and your index finger to the G string. Although the pattern are going to change, it depends on which one you are doing. The first two patterns will be four notes per bit exercises, and it just means that when you practice it and you put on the metronome, you will play four notes and it will be Tomb and these three fingers. And the second two exercises will be six notes per bit exercises, which means that you play the thumb once and you play six notes with these three fingers. Now, let's have a look at the first 26. First Pattern: In the first pattern, we will start with an E major chord, and we will use the tomb as the first finger, and then we will use the ring middle index to go up. When you play with the thumb, you can just, like, play away from the string, but try not to make too big movements because then it will slow you down later on. It's the same thing with these fingers. If you play with little movements, you will have more chances to reach higher speed later on. The best way to practice these exercises is having a metronome. And when you have a metronome, you can just place it to a particular speed where you are comfortable with. And then you just need to play four notes per bit. And then you can also start one note per bit if it is more comfortable and when you feel comfortable with one speed after you can speed up and you can go to the next level. So I recorded this exercises actually in two different speed at 50 BPM to show you how it sounds when it's played a little bit slower and I played it at 100 BPM as well to show you how it suns when it is played faster. Now, let's have a look how you can start this exercise just to put on the metronome maybe at 100 BPM and playing one note per bit, just to practice to play with the metronome and play even when you play this exercise. Oh once you do one round in one chord, you go to the next chord. And so you can go as far as you want to on the neck, and then you can just try to push yourself and go to four notes per bit. Actually, with this particular pattern, I can go really fast and it can sound really nice. I think I can do 130 BPM four notes per bit. H. 27. First Pattern with Metronome: [No Speech] 28. Second Pattern: In the second pattern, we will do very similar exercises. We will have the same chord progression. So we start on E major, and we go to F open, and then we will go all the way up to A major open. And we will have the working baseline as well. What is changing that we will play Tom, index, middle ring. You can start practicing the exercise again in the same way. So you put on your metronome at 100 BPM, you play one note per bit, and slowly you are transitioning to four notes per bit and try to push your speed higher. H 29. Second Pattern with Metronome: [No Speech] 30. Third Pattern: Now we arrive to the six notes per bit patterns. And in this case, we will play tomb index, middle, ring, middle, index. Now, let's do the same exercise with 100 BP and one note per beat. 31. Third Pattern with Metronome: Oh 32. Fourth Pattern: Our final pattern will be a six notes per bit exercise, but this time we are going to play Tomb ring, middle, index, middle ring. Now, this can be a very unnatural exercise, and it is not used so much in songs. So for me, this is pretty hard, but it's worth to practice this with all the other patterns as well. So let's see how does it sound at 100 BPM. Now that we learn the four basic ways of playing these finger picking exercises, we are going to have a look at some songs as an example and for you to practice them. 33. Fourth Pattern with Metronome: [No Speech] 34. Spanish Romance: [No Speech] 35. Spanish Romance Tutorial: First heard this song in a music festival when a guy was playing it on a guitar for us, and I started playing the guitar quite late. So that's why it was the first time when I heard this song, and I just loved it so much. So I asked him so many times to play it. So in the end, he actually was quite annoyed with me and tried to avoid me, so he doesn't need to play this song anymore. So then I decided to learn it. And when I was 24-years-old, I was a street musician for one year in London, and this song was the moneymaker. I think because everybody loves this song so much, people donated more money when I played this song, so I play this song quite a lot. And today we are going to learn how to play this song and also how we can make it sound nice. The composer is anonymous. I think this song is like over 100-years-old. Some people try to claim it that they wrote it, but nobody could prove it. And it's a really beautiful song. It has a lot of different names that it goes by. Some people call it Romance or Spanish Romance or Romance de anonymous. So it's a beginner song. I highly recommend you to learn it, and it's not that difficult, but there is one bay part which makes the song a little bit challenging. When you play this song, you are playing like an arpeggio movement. So it means you play with the ring, middle index finger. And sometimes you add with the top the bass note. Also the song has two different parts. There is an A part, and there is a B part. Usually, when people play it, they play it on a way that they play A, A, B, B, and A. And people who don't play very well on the guitar, they play the first part, the A part because it's so much easier than the B part and they skip the B part. But today, we will look at the A and the B part as well. So let's have a look how you can play the A part with a tab and 60 BPM. Oh When you play classical guitar, you don't really follow the metronome. I just put the metronome on for this particular song now because I could match it with the tab this way. But in classical guitar, you speed up and slow down the music and you add breaks in certain places to express emotions. So let's see how we can express emotions with this song because if you would just follow it with the metronome, it would be too robotic. What you can do to make it sound nicer, you can add oxens at the beginning of the bars. So an oxen means it's a louder note, but also you cannot a little break after this note. So instead of playing this, you can play like this. So every time when you start the bar, you add a little accent, and then you emphasize the bar in that way. And you can also add some vibratos which will make it sound really, really nice. Vibrato is a way to elongate the note, and you do vibratos on classical guitar on a way that you play a note and very quickly move your finger sideways. Not in every place the vibrato will sound nice, but it's definitely sound nice at the very beginning on the seventh fret. You can also add a little vibrato on the third fret, and you can definitely add vibrato when you are on the 12th fret. The hardest beat in the song is the bay. This can take a while to make it sound clean. The best is to hold the barry on a way that the neck is here. So you are kind of over barring. This way, you can push a little bit more. But don't be discouraged if you can't make it sound at the very beginning. You just need to keep trying because you need to develop a strength in your hand to have, like, a really strong barry. Even you can see this muscle. This is like something that the guitarist have just because of holding so much bars in my life. You can always check if your barry is clean on a way that you play one by one, the note. But of course, this will be the hardest because you need to reach out with your little finger and stretch while you are holding the barry. It is also very nice to emphasize when you finish a part. So when you are finishing the a part, you need to slow down the music so it will sound much nicer and it indicates something is finishing. So in the end, it will sound like this. When you are playing the B part and you are changing from position to position, it is good to go from cord to cord. So basically, this is the first ord, and this is the second chord. And then when you hold the bay, you need to go to the chord, as well. So this will be the hardest because then you need to jump from chord to chord when you're playing this song. But you can also do the same thing like before, so you cannot accent at the beginning of the bar, so it will make it sound nicer. You can also emphasize the ending of the bars on a way that you add an accent at the very beginning, you play fast in the middle, and you are kind of slowing down in the end. There is probably one more hard bit in the second part, which is this stretch. But otherwise, it is pretty straightforward. And, of course, this particular barre 36. Purple Bird: [No Speech] 37. Purple Bird Tutorial: I wrote this song to practice the second pattern, which is called Purple Bird. And it was like a variation of a song that I wrote before. It was called Blue Bird, but now it has changed. I changed the chord, so I changed the name of the song. The song starts at A minor, and again, you play with the tomb and the ring finger together, and you play the second shape. The pattern with the right hand will be very similar, although sometimes I'm moving the three fingers up from the bottom three strings, one string up, and that's why it's easier to play this way instead of playing double bass. Also, the bass sometimes changing in the song. 38. Every Second Week on Friday: The 39. Every Second Week on Friday Tutorial: The next composition is called Every Second Week on Friday. And in this song, you have a mixed technique or a mixed pattern. Although when you play the bottom three strings, you are always placing the same finger to the same string. So ring finger on E string, middle finger is on B and index finger is on G string. And whenever you play the base three strings, then you will need to use a moving tub. This is very beautiful song. Although for this song, you need to be able to play some Barre because you will have a G major with a Barre, and also you will have a B minor as a Barre to be able to play the song. 40. Spanish Mixed Technique: [No Speech] 41. Spanish Mixed Technique Tutorial: Our final song will be a Spanish style Ope jo exercise. And in this song, we will have the Spanish chord progression. So A minor to G, to F, to E. And the pattern will be that you will have a moving baseline or changing baseline that you play with the tub, and you will always place your other three fingers to the bottom s string, and you will play the same strings with the same fingers. And the pattern is so this is the first pad joe. And then we go to the cert type of pad job because it will be thump, done, done, done, up, up, and we will have two more up up from the bottom string. So first type SRType and an extra two notes. And then we changechord. 42. Tirando: There are two types of technique to use to play solos in classical guitar. One of them is called apoyando, and it is to pull the strings up until you end up on the next string. This technique is also called Picado, and I have a lot of good lessons about this in the flamenco section. So if you would like to learn this technique, please go to that section because in flamenco guitar, this is the technique to use to sound more strong. But it is also used in classical guitar in some songs. And the other technique is called Tirando. Tirando is a free picking between the index and middle finger. And here you don't end up on the next string. This is an alternate picking, which means the index and middle finger is always alternating, even when you change strings. At first, let's practice this technique only playing two notes per string, so it will be easy to change. You don't have to hold anything on the left hand, or you can hold a chord to practice this at first. And the best is to play this over the sound hole on the right hand. I started the playing with the index finger. Let's do the same thing, but now we will start with the middle finger and again, playing two notes per string. The hard bit will be when you start to play three notes per string because you need to change with a different finger each time when you change string. So let's start to practice that one. In the next exercise, we will start to use our left hand, and we will start to play three notes per string there as well. And this will be third, second, third on each string. So it will be one, two, three, one, two, three, one, two, three, one, two, three. Once you are in the bottom, you push everything forward once, so you don't repeat strings, and then you start to go backwards. Let's do this with the metronome. You can do the same exercise, but reversing the position. So this will be ring, middle, index, ring, middle index, all the way down. And once you are in the bottom, you push everything forward, and it will be index middle ring, index middle ring. You can also do an exercise, which will involve four notes per string. So this will be index, middle, ring, little, index, middle ring, little, all the way down. And once you are in the bottom, you push everything forward and you start to go backwards. Finally, let's do this exercise on the way backwards. 43. Classical Tremolo: Today, we are going to learn how to play the classical tremolo. And after this lesson, you can learn something like this. Now, the classical and the flamenco tremolo are a little bit different from each other because in the flamenco tremolo, you actually play five notes while in the classical tremolo, you only play four notes, and the Tomb doesn't end up on the next ring but ends up freely. The first step to do this practice will be to find the best way for you to play this tremolo. Now, the official way is Tom ring middle index. So it sounds something like this. Well, there are some other ways you can play it, and I think you need to find the best way for you and the best technique that you can speed up. For example, Anavdovic doesn't play this classical way, the tremolo. She plays Recuerdo de lambra beautifully, and her technique is actually tamp middle, index, middle. So it sounds quite similar. Now, the first thing that you need to do to practice this one is actually just getting ready with the technique, which means that you can hold any chord. And then at first, you just practice it on the E string. So it means that you play only the E string with the tremolo part and you play the top like a moving base. It means that you go from the top all the way to the bottom and you are changing base every time you play this one. And the main thing is to be really consistent. So it means that every note should be the same distance. So the next step will be to practicing the tremolo on the B string. So it means that you do exactly the same with the tomb, so you make like a moving bassline. You hold one chord and you just practice it on the B string. And then you will do the same on the G string. And lastly, you can do it on the D string as well if you want to. Probably this one is the hardest. It is very difficult to speed up this technique without the use of the metronome because you don't know what is your speed and you are not really forced to keep up with one certain speed. So let's start using or metronome and set up a speed for us, and let's practice this one with the same exercise starting on the E string. So we start with 160 BPM, one note per beat. M The next step will be to start playing four notes per bit, and we can do the same speed like before. But now with the setup or metronome to 40 BPM. If you feel like that you are sounding very clean in one speed, that's the time to speed up. So I'm going to put up now 80 BPM and doing the same exercise. Now, practicing the same thing on the B string. 120 BPM, switching from E to B to D. Of course, you can go faster than 120 BPM with the metronome. But please only do that if you sound very clean in one speed and you are ready to go further with the next speed. I just want to say that this technique can take a while to muster, so don't be discouraged if it doesn't happen for you after one week or two weeks. Even for me to cares to sound quite nice when I'm playing this technique, and I'm still working on. So what helped me actually the most is doing this technique without thinking. So this meant that I put on something on my laptop and I was watching my series or movies or YouTube videos. I was muting my guitar, and I was just like, playing. This is actually the great way to practice because you can sometimes can be really daunting to do all of these technical exercises so you can do something fun while you are doing it. But don't do it when your family and friends are around, it looks a little bit silly, but this actually helped me the most. 44. Flamenco Arpeggio: Today, we are going to learn the flamenco ped jo. After this lesson, you can learn something like this. The classical and the flamenco rpedjo is a little bit different because in the classical, you do a free picking with your thumb. While in the flamenco, you end up with the thumb so you have a little bit stronger sound. The direction that I actually showed you was Tmp ring middle index. And then the tmp is doing a baseline, which means it plays first the E string and then A and then D and then A. Now, this technique is pretty easy when the next string is coming and when you are going down. But when you start to go upwards with the thump, you need to be there already. Otherwise, you will be too late, and it will take you too much time to speed up. This is easy because Tump up up up and the thumb is already on the string where it needs to be. And after again, Tmp up up up, the thumb is on the string where it needs to be. Here on the D string, you need to end up as a free picking because you are playing the string below. So it's free picking, but you need to place the thump to the A string in the middle when you play. So a lot of people place the thump when they play with the middle finger. So it will look like this. But for me, the easiest is to place it after the ring finger already. So it will be like this. It doesn't matter when you place the tmp, but you need to place the thump when you play with the ring, middle, and index finger. And the best is to practice this super, super slow and train your brain to place the thumb while you are playing with these three strings. You can train the brain either with the middle finger or the ring finger. It doesn't really matter. The main thing is that you place the tomb in the middle when you are playing. The coord that I'm using for this is E major, and then I go to an open F major, which means I don't hold the barry. I just hold the top E string, the base E string, and after I just push the shape forward one, and I play an open F short major. At the beginning, it's better to practice this very, very slow. So you can practice it like one node per bit at 60 BPM and slowly speed this up. Once you feel comfortable with the tomb changing while you play with these fingers, you can go faster. Now, let's do 60 BPM four notes, Barbie, two, three, four, one, two, three, four, one, two, three, four. Now I'm going to show you how this sounds when you actually really speed up. You can do this technique in a lot of different directions as well. This was just one direction. The second direction will be thumb, index, middle ring, thump index, middle ring. And then, again, when you change back to the aString with the thumb, you can change on the middle string. So it will be Tomb index change ring, Tmp, index change ring. This direction is so much harder for me than the direction before, but I can go up to 95 100 BPM with a lot of practice. So let's do this with the metronome at first at 60 BPM and let's speed this up. Now, let's do the fastest that I can do. The third more important direction, we'll be doing six notes per bit, so it will be Tum index, middle ring, middle index. Now, here, you can change in many different places. A lot of people change on the ring finger, but you can also change in the middle or index or wherever you want. The main thing is that you need to place the thumb before. So let's practice the change. So we will just go upwards, playing the D A and E string with the thumb. And now I'm going to change with the ring finger. Now, let's do this technique with the macronom. Now, we go a little bit lower 60 BPM because we are playing six notes per bit. 12, three, four, five, six, one, two, three, four, five, six, one, two, three, four, five, six. This can take a while to muster, so don't be discouraged if it doesn't happen straightaway. I remember I spent a whole month in the winter holiday and doing the hours and hours every day to train my tomb to go to the right places. 45. Flamenco Arpeggio Study: I would like to share with you today an arch peture exercise, which is very, very beautiful, and it is a combination of several different picking that I already did a lesson on. Let's see how this exercise look like, and I do use my metron on 80, 90, 100 BPM, so we will go faster and faster and hopefully it will help you to gain a better speed and be more punctual. 46. Fast Solea Arpeggios: Today, we are going to learn two fast flamenco sola pad jo studies, and after this lesson, you can learn something like this. Let's play the first flamenco sola. At first, I'm going to play it at 50 BPM, but we are going to speed it up to 100 BPM to sound like me at the beginning of the video. Before we go onto the rhythm, let's look at the techniques that you need to use in this exercise. So we have a six pedjo which means that we play tomb index, middle ring, middle, index. We also have after a pull gar, so it means that you end up on the next string with the thumb while you pull it down, and then you do like a free picking with the index finger. And then we have a Gape. Gopa means that you add a hat with your ring finger, and in this case, you just use the thump to play one note. In the next bar, V will have another six pad jaws and then a Hamron. I like to add the hmeron with my little finger because I'm already in position, and this way, you will add ringing everything. And you add the hemeron again with the Pulgar. And again, you can add another gold pa while you are adding a hemron and the pull off. And finally, you finish with an arpeggio. And this is like a pull gar and the index finger up as well. It's better to add the pulgar a tiny bit earlier so you have a better sound. Instead of doing this. Just a tiny bit earlier to have a little bit more flamenco sound. And after you can add again two gold paste what quartz. Let's have a look at the rhythm. Solar is in 12, although this time, we divided the 12 to 4 bars, so we are in three, four, and it means we will play one, two, three, one, two, three, one, two, three, one, two, three. And this way, you can count the rhythm as well. And we are going to count the rhythm with E endas. So it will be one E and two E, and three and one E and two E, and three and. We need to change the counting when we play the 60s because we have triplets there. So instead of saying one i endo, we will say triplet, triplet. So let's count and clap this exercise. Triplet, two, and three E and triple triple, two, and three and triplet, triplet, two, and three E, and one E and the two and three, and. As you can see, you have a lot of different rhythms here. You have six notes per bit, two notes per bit, one note per bit, and on the second bar, on the third bit, you have three notes, but one of them is an eight note and 216 notes, so it will be ta da da ta da da. What helps me to play flamenco a lot of times is to be able to sing the rhythm before I play it. So you can also practice it, singing it. I can set up the metronome at 50 BPM. And let's try to sing this rhythm. Ta da, da, da, da, da, da, da, da ta, da, da, da, da, da, da, da, da, da, da, ta da, da, da, da, da, da, da, da. When you sing rhythms, you know how the music is supposed to sound. And actually, I'm teaching flamenco to my students as well, and I make them singing rhythms, and it helps them to play what is written here. For me, the hardest part of this exercise is playing sixes, and I have to practice this a lot. What I mean is six notes per bit. So there is an exercise that you can do to practice playing six notes per bit. And this is just to do like an alternate baseline, and then you play Tmp index, middle ring, middle, index, tmp, index, middle, ring, middle index. You just switch the Tmp with an alternate baseline. So at first, you play E, A, D, A. And after you can change chord, so you can go to an open F chord from E and then F short G, G sharp. So let's see how does that sound with the metronome at 70 v. It is quite hard and very tiring as well for the fingers. But the good thing about this exercise that you don't have to do this all the time because you have a little break after the 60s, so you can, you know, gather your strength for the next time when you need to play fast. You can also practice this on a way that you play the first bit and you go to the second bit, but you just play the first note, so you check if you are on time. So let's do this with the first bar. In this case, I went click to click. So it was click, click. You can do the same exercise with the other bars as well. Let's see how does it sound at 70 BPM. And let's see how does it sound at 100 BPM. Et's have a look at the second Solea, and I'm going to play it for you again at 50 BPM. So you see how does it sound and after we are going to analyze it and learn the techniques to play it. Two. Oh, this solar is very similar like the other one, except that now we will have another section on the third bar when we play four notes per bit. And the ending will be different. This will be one of the typical solar ending. So let's have a look at how you can count this rhythm. Triple at triple at two, and three and triple at triple at two, and three and one and two, and three, and one E, triple at two, and three E and here, you can add a golpe again on the third beat in the first and the second bar. So it will be arpeggio, Pulgar with a hammer on and then golpe with the hammeron and pull off. Again, arpegoPull Pulgar with the hammer on, Golpe hammeron and pull off. And then we will have a four notes per beat. So this will be just an pego And I just use like a classical finger picking technique. So it's just an alternate picking between my index and middle finger, but I'm not pulling up. I don't do like a pulgar. It's a little bit of softer sound. And the very end will be Pulgar, Opa jom and TomTomp, Golpe with the thump and index finger. Again, what we can do we can practice singing this rhythm. So then we know how it sounds when you play it on the guitar. I can put the metronome again at 50 BPM, and let's try to sing it. Ta da, da, a, da, da, da, da ta da, da, a da, da, a da, da, da, da ta da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, da, the the here probably the hardest is to switch to the four from all of these rhythms and also to be able to switch from one rhythm to the other one and still staying within the beat. So let's play this a little bit faster at 70 BPM. And after let's play this at the final speed at 100 BPM. Mm 47. One-Stroke Rasgueado: Today, we are going to learn the Rosgiado technique, and after this lesson, you can play something like this. So the technique is basically using the index finger and you are flicking, which means that you start from the bottom of the thumb and then you flick and flick and you need to go back to the bottom and you flick. Also, you place your thumb on the E string, and you are not pushing it down, place it there. And after you try to hit the base nodes, especially trying to hit the A string. How you can see that you hit the A string, you just need to look at the strings and you will see the A string buzzing if you were able to hit it with your flick. Also, try to aim to have this kind of basic sound. So don't hit all of the strings. Try to hit the top of the string so you will sound better. So then when you go click and then you go back to the bottom. Click back to the bottom. It is very important to go back to the bottom because if you don't go back to the bottom, you don't have enough power to make it sound quite nice. So go back to the bottom always when you do this technique. Also, when you go up, then you use mainly the higher strings. So that's why when you play this technique, you have this kind of base sound, high sound, base, high sound. There are a few other things which can be nice to pay attention to. For example, don't go too far away from the guitar, but be close to the strings. And when you end up on the string, you are still curd, and then you are ready to go back to the bottom of the string. Now, to demonstrate this technique, I use the flamenco side called Faruca because Faruca is in 44, so it's quite easy to make variations with this technique on the Faruca. The chords are E seven A minor, E seven, A minor, D minor, A minor, E seven, A minor. And then I just audit some variations. So to practice this technique, you can just practice it on a way that whenever you are in the E seven chord, you just go down. So it will be one, two, three, four, and then on the A minor chord, then you can do do up, down up, down up, down. So it will be done down D down, down, down down down down down down down. Now, you can do a few things to make it sound a little bit nicer. For example, you can add a golpe. Golpe means that you use your ring finger and you add the hit on the guitar. Now, some of the guitar wood can be quite sensitive. I'm using a god pader which is like a cover for my guitar, so then I'm not adding hose when I'm doing this quite a lot. In my previous guitar, actually didn't have this cover, and in the end, I almost had hose. I mean, it didn't change the sounds, but it's nice to have some kind of cover, so you're protecting your guitar. This movement is a little bit unnatural because your index finger and ring finger is moving to different directions. While you flick with the index finger, your ring finger is going backwards. You need to have also a little bit of nail. If you have two big nails, you can lose your nails doing this kind of technique. But if you don't have a nail, then you won't have a very, very nice sound. So with nails, it's like this without nails. It's a little bit harder to make the right sound with this. Okay, so now let's practice this one. We will go down, down, down, down and after we will on the golpe each time when we go down, done, up done, up done. Of course, you can make other variations as well, so it will sound even better when we do that one. For example, we can add flavors to each of the cords. So then when we play an E seven chord, we can add with two. And then we play A minor d or for the D minor. Of course, there are other bits and pieces that you can do. For example, you can add mutings. It is also called staccato. It means that you play a note, but you stop the sound. This is quite easy to do when you play a barre chord, but it's a little bit harder when you play open chord. Because when you play a barre chord, for example, playing an A minor chord, you can stop the sound just lifting up your left hand. You could see the difference in the sound. Although when you play open chords, you need to use with your left hand some different fingers to do the muting. So in this case, we can practice the mutings on the E seven chord andodding it with the little finger. And also do the same with the ring finger using the same technique. It's a little bit harder for me, but everybody's hand is a tiny bit different, so you might find this a little bit easier than muting with the little finger. You can also practice this kind of technique using the A major core, and I'm holding it in a flaw and convey, which means that I'm holding two strings with the index finger and one string with the middle finger. I have these two fingers, three, so I can use them to do other stuff. Now I'm going to mute it. So it is just adding a bit and then muting it or touching it with the little finger. And you can also do the same with the ring finger. So there is one more thing that you can do, which can make the sound nice and it is adding a kind of heat and then going down. Basically, you do the same technique, but you are kind of doing it in the air and you aim the heat onto the guitar wood above the strings. And then you can add a little bit a little bit of string sound to your sound and it can add some nice effects. So once you master this technique, then you can go through the three throw cross guiado, which is kind of in the same theory like this one, so you need to flick. But at this time, we are going to use three fingers to do that one or we can use four fingers as well for the four throw cragiatom or three fingers for the fourth throw crass giatom. But then we go back up with the index finger. So it will be flick, flick, flick, always flicking from the ring, middle index finger. Or four stroke. Or four stroke this way. Although I will do a separate video on this one, and then I will make a lot of exercises for you to master that kind of technique. But at first, you need to go through this technique and master this one. 48. Three-Stroke Rasgueado: Today we are going to learn the three and four stroke ra iatom. After this lesson, you can learn something like this. Now, to add a three stroke cragiato or a four throw crasgiato, we can do it in a few different ways. At first, let's look at how we do a three stroke cragiato. Then we are going to add ring, middle, and index finger, and we always start from the bottom or we have fist position and we are touching the bottom of the thumb. After we will click, click, click and Click. And also, we can do a three stroke crass guiado on a way that we will just do a flick from the middle and the index finger and we go back with the index finger. So it will be flick, flick, flick, flick up. It is better to do a three stroke cragiado when we're aiming to a more continuous striplt to do it with the down down up movement because when you do a down down down movement, you always have to go back to the bottom and it is like an extra movement which is very difficult to get rid of. The first step of practicing this one is doing a separation. So how do you do a separation? Will use a different chord each time than we are doing one hit on the guitar. We can do it on a way that we will do an E dominant seven, after E major, after teenagor flat nine, which is a very fluencoch ord. Once you did this separation exercise to reach speed, it is good to use or metronome, and then you can start up with a speed and after you can speed up with the metronome itself. So let's try to do this one. At first, we will do one hit per bit and after we will start to raise or speed, we will start doing three nodes per bit so we can hear the metronome better 100 BPM. 180 BPM. It is the same as 60 BPM, so now we will do three notes per bit. Three, two, three, one, two, three, 80 BPM. So this is a lot harder to speed up than the other one because there is always an extra movement when you go back to your open fist. So let's try to speed up or other stroke cross the do when we are starting from the middle finger and we go back. Two, three, two, three. So that was 110 BP. Let's look at how to do a four throw cross diatom, and I will show you two different methods to play a four throw cross dado as well. At first, we are going to do it with the little finger involved, so it will be one, two, three, four. The same way you can speed it up as well. So you use your metronome. At first, you do one note per bit and after you will start to do four notes per bit, so it will be easier to go faster. And the other way to do a four throw crossiado is doing one, two, three, up, so it's starting from the ring finger. Let's see how does that sound with the metronome. So now I run down to 40 BPM and it is four notes per bit, so it will be exactly the same speed like the one before. One, two, three, four, one, two, three, four. Again, this one was a little bit hard to speed it up because you always have an extra movement when you need to go back to your fist. So I'm going to use the other way, which will be ring, middle, index, and back up, so it will be easier to speed it up because there is no extra movement. It will be one, two, three, and back up to the fist. So then you will be able to go again. 49. Flamenco Bulerias Exercise: Today, we are going to learn a basic Bulerias vastu and also we are going to learn how to understand the rhythm and how to make melodies on this particular rhythm. After this lesson, you will learn something like this. So at first, we are going to learn the rhythm of the Bulerias and it is in 12, and we will make oxens in particular places. So it will be 12, one, two, three, four, five, six, seven, eight, nine, ten, 11, 12, one, two, three, four, five, six, seven, eight, nine, 1011. So it is starting on the 12, and it has an oxen on the three, on the six, eight and ten. Or if you want, you can count for me, that's easier like one, two, three, one, two, three, one, two, one, two, one, two, one, two, three, one, two, three, one, two, one, two, one, two. Whatever is the easiest for you. To start to build up the faceas, we are going to choose some chords which are quite common in this music, and this will be an A major and also a B flat seven, but it will be an open seven. Now, we also need to learn what kind of technique we need to use to play the rhythm, and we are going to learn how to play Rasgueado and also Golpe. So asciado is a technique, which means that you will make a hit or a flick with your index finger, which is starting from the bottom of your thumb. And then you place your thumb on the top of the Etring and you hit. And also, sometimes you need to go back. And when you go back, you always go to the bottom of the tomb. Some people just go to the middle and then they don't have enough power to sound quite nice with this technique. So you always need to go back to the bottom. The other technique that you need for this one is a good pay, which means that we are going to make a hit with a ring finger. And sometimes it can be quite difficult as well because sometimes we need to go with the oggiado and make a hit as well. So it's run hit, done hit, done hit. By the way, I have a guitar course which has 19 different lessons in all of these techniques and many others and lots of different exercises. So if you would like to sign up for my guitar course, please go to the Amazon store under this video or to my website and order your copy. Okay, so let's make and build up a rhythm on this one. So we can do on a way that we will just do threes on each of the chord, so it will be one, two, three, one, two, three, one, two, three, one, two, three, as a beginning of this exercise. So we need to break up all these three as well, so then you need to go up, which is one, it's one and two and three, one and two, and three. One and two, and three. One, three, one, three, one, two, three, one, three, one, two, three, one, two, three, one, three, one. Once you are comfortable with this one, we will start adding opsons on different places to make a little bit more variety of the rhythm. So the first one we can do when we change to the second chord, which is B flat seven, open B flat seven, then we are going to add or first Rasgueado, so it will be one she on and she on. Two, three, three. Now, let's add even more variations, and now when we are going to go back for a major chord, we are going to add a four through cross diatom on a way that it will fit, that it will be one, which is triplet, two is up, and three is ahead. So it's one, two, three, one, two, three. Strang. The next step of this exercise will be to add oxens on the right places because it is one, two, three, one, two, three, one, two, one, two, one, two. Then we need to add oxens on the one, two, one, two, one, two, instead of one, two, three, one, two, three, one, two, three. So how to do that one, we can add some extra quartz for exercise, and then it could be a major. Go to the B at seven, open B at seven, and then we can add C nine And then, again, a B flat chord, but without a ring finger. And let's go back to the A major chord. So how it will sound. And fast. Okay. So once we can do that one, we can also add, like a really typical facet up to this one. And in this case, we are going to use a diminished chord. This will start to play from the t. So how it will sound very slowly. Well one. S six, seven, eight, nine, 102 s, five, six, seven, eight, nine, 1011. Same and so on. So how do you play this fasta? You are going to play it with an arpdju. So you hold a diminished chord, and after you start playing very slowly, TumTump and index, middle, ring, and then you have a pull off and after hit oh 50. Flamenco Golpe Exercises: I will show you a few ways to do the Golpe, which is hits in flamenco or Spanish guitar, and it will give you a great accent on your playing. After this lesson, you will learn something like this. This is one way, the second way. Third way. And then the fourth way. At first, I will start with the easiest one, which is using a flick and you flick with your index finger and from the bottom of your thumb and you hit the strings. But the best is when you hit in between the tar wood and the strings, so it is like. And you can use, like, any chord that you want. I'm using an A minor chord. But I mute it and after it means that I hold the cord and suddenly I release it. So it is a Some people do not flick quite strongly, so it is great to practice this with a coin or something like this on the ground. And then you can if you can flick a coin for, like, quite far away, it means that your flick is strong enough and you can try the same thing on the guitar. But there are few things that you need to follow to have good power. And it is that your index is always in the bottom of the top. So it's not from here, but from the bottom, and then you can go with more power. Because if you start from here, maybe it works, but it's better from the bottom because you have more power. So this is the movement. It's great to move your hand while you are doing this. And after you can incorporate it to your strumming techniques, for example, you can click and after up and down string strums. So And then it sounds something like this. You can do a lot of quite fun stuff with this one. The most important thing is to keep the written, and then it will be very percussive playing. Going down with your thumb and you make a hit with your ring finger. I don't have so much nail actually with my ring finger at the moment, so the sound is not so strong. But because I have literally gigs every second day and I'm doing a lot of room so I'm losing my nails. Although I show you would weigh how to do this, it's better to have a little bit more nails than what I have. It is going down with your thumb and make the heat at the same time, it slowly looks like this. So it is something like this. You need to move your wrist at the same time. It's a bit difficult movement because it's a bit unnatural, but you can get into this one. Let's see how it sounds it accord. Again, you can incorporate this to your playing, and you can either mix it together with the other one. So we will do, like, hit upend, up and done, and the other go pay upendanUen done. It's difficult to keep the turn with this one. I need to practice it a little bit more, but it sounds really amazing to mix this kind of two got paste together. And then you can cover somebody in a very, very percosin way. The third way to do the Golpe is using the osgado technique. So basically, that's a very unnatural movement. Again, you make the hit with your ring finger, but at the same time, you are going down with your index finger. So you have this kind of movement. It doesn't matter what the middle finger is doing at the same time, but these two should go to the different direction. Your thumb is on the easing, not pushing it down, just resting, and then you flip and you hit. Et's see how it sounds with a cold. And then also you can incorporate this to a playing so you can go, like, up and down with your index finger and you make oxens with your gold by playing. You can follow a lot of different pattern with this kind of playing. So you can do even kind of glia rhythm with this one, and then you can follow this kind of pattern, and it will sound really, really amazing. And it is one, two, three, one, two, three, one, two, one, two, one, two, one, two, three, one, two, three, one, two, one, two, So So what I'm playing here is Yan, of pendanUenn an, OpenanUenda, panda, O panda Open Dan. The fourth exercise will be goal pair on the Alzapua technique, and it is basically your thumb and you go done one string with the thumb and after you go all the way down and go up, or you can just go down, do things round and up. The main thing that you make this movement on the second make this technique on the second movement. So it's done it pop. And it is quite similar to the second technique that I showed you, except that you start your thumb movement, not from the E string, but some of the other strings. So it is with a minor chord. It's done in De. Done. There is a great exercise for this one, which was in EnterdosOqua, which is a Paco de Lucia song. And then he's using this technique if you listen to this Ozapa part, which is So it is done on string. 51. Flamenco Triplet: Today, I'm going to show you two ways or two methods to reach fast speed in the flamenco triplet. After this lesson, you will learn something like this. For this lesson, you will need a metronome because we need the metronome to get faster and faster. Without that one, it will be difficult to track or progress. So the flamenco triplet contains three movements, and it is basically going down with your middle finger or middle finger and ring finger together as you wish. And after you turn your wrist and you use your thumb and after you need to turn. So movement with the fingers, but do not move anything else, and after you turn, your wrist turn back. One, two, three, one, two, three, one, two, three. It's all coming from the wrist and it is all the movement. So there are few tricks that you need to do first to be able to play this properly. I just would like to say that flamenco players start the triplet in a different way because they start up with the tomb, and I start done. But the reason why I start down because I would like to add later on the hits with few times. And the only way to add the hit is starting down because it's long to see and if you start up, then it is 13 and you are turning so you can't put the heat. Okay, because everything is coming from the wrist, this is the movement. So what you need to be able to reach is play down and up with your wrist and tongue, why everything is coming from the wrist. And it turn turn, turn turn, turn turn, turn turn. And after you can add the middle finger. So it is done, down down down turn. As you can see, I do not move my arm. I'm only moving the wrist. And if you move your arm, you won't be able to go fast, and later on, you need to reach high speed. So the only way to do that one without getting tired as well to do everything from the wrist because later on, it is like shaking movement. So there are a few things that you need to do before you start using the metronome and the first thing is to make oxens. So you can do, like an accent on the down and after don't do any oxensO the other ones, occent means that you play a little bit louder the movement and after you will play a little bit quieter, the rest, so it will be. That's when you make an accent on the down and after you can make an accent on the down term, so this movement. So. And after you can make an accent on the up movement. Once you can do all of these things, the next thing that you need to practice is use your wrist because every movement have to come from the wrist. So you need to be able to do a like a term Tara. One history. One history. One history. You need to be able to hear three because if you just hear two, that's not enough. You need to hear three. So if you only hear two, it means that some movements are missing when you do that. And after this, we are going to the first method to be able to play fast. Okay, now we know the movements. Now we know that it comes from the brist and that we have to do it with the turning movement, and we need to go fast. So we will start using the metronome. I will put up my metronome to 100 PN and then do one strum per beat and we will start going faster. You can start slower as well. If you want even faster, it is up to you where you start, but you need to start slow. So then we will play one movement with the metronome. Navi go faster, 140 BPM. And 180 BPM. Now we will go back to 60 BPM, which is exactly the same speed like we did before, but we will start playing three notes per beat. That will be the easier. So it means that you will know whenever you hear the beep, you just need to go down, and then when the beep is then you know the down. And if you go faster, 90 BPM. If you feel like that you cannot keep up with the rhythm, this is your speed, and you need to practice it quite a lot every day until you reach the speed that you want. If you feel like that you won't be able to go faster, you need to look at your technique because sometimes you move your arm, sometimes you move too much, sometimes you are too far away from the strings, sometimes you do not turn enough or you don't use your wrist. So it could be your technique, the reason why it cannot go fast. And also, it needs to be like one, two, three, one, two, three, one, two, three, Tara rah rah, one, two, three, one, two, three, one, two, three. Some people do the triplet and it's just like terra ram. That's not the right way. It needs to be floating and every movement is the same speed. The next progression is 120 BPM. To keep the speed better, it is great to use the leg. I'm using my leg with every beat. So it means that my whole body is moving. I'm more on time. Second method will be burst. Burst mean that you just do one quick triplet, one, two, three, one, two, three, one, two, three. And now they use the metronome to connect these triplets. And we need to reach, again, 200 BPM. So it means that we need to hear breaks in between the triplets until we reach or speed if we do it fast enough. So let's start this speed with 60 BPM and we will just do burst and burst and burst and burst. Let's go faster 80 BPM. 100 m. 140 PM. 170 BPM, and we should still hear breaks in between the strip plans. It's quite difficult in 170 BPM, but you know that you are fast enough if you hear breaks in between your triplets star at 170 BPM. And of course, you can go up all the way to 200 BPM. Mmm. This is a quite fun technique, actually, and you can use it in a lot of different situation. You can progress it more and then you can start adding the hits. Or you can use it with the Rumba technique and it's quite nice to audit on the end of the Rumba technique and also it gives a burst in the end. Mm. 52. Learn the Rodrigo Y Gabriela Strumming: Today, we are going to learn the Rodrigo Gabriela strumming technique, and after this lesson, you can learn something like this. Or something like this. Okay, now let's start adding the hat. So what Gabriela does that she adds a triplet and she adds a hit. So it will be like this triplat hit, trip plat, hit. Now you can practice this with the metronome as well. And then one movement will be one movement will be a hit. So I will show you how it will sound or look. One, two, three hit, one, two, three hit. Now you can add the chords, as well. So for example, in Tamakun, we have A minor, G major, C major, and E major. Now, this is a very slow speed, so I'm going to speed up, and I will show you how it sounds when you go faster. Now you can do few things to practice this technique. One can be doing a quick turn, so it will be one, two, three, and stop. Now, I'm doing it so fast that I really need to pay attention to the sound instead of the movements because you can hear if it is three or if it is two. For example, this is three. And this is two. So when you hear two, then you need to look at your technique, maybe go a little bit slower and try to add at plat. And the other one will be just going quickly and then adding the heat. So Now, let's add some variations because then we will sound a little bit better. And what we are going to do, it will be one, two, three, hit, one, hit, one, hit, one, two, three, hit, one, hit, one, hit. Now, let's have a look at another song, and this will be Dibojo and the chords are A minor, C major, D minor, E major. Now, what happened here that we are the two strums and after flamenco replatment hit. But we accented the second strum, so it sounds a little bit better. So it means that you just play the second strum a little bit louder. And of course, in the end, it is just triplahit triplat hit. So Dam, d, trip plat, hit, d, d, trip plat, hit, dang done, trip plat hit, trip lat, hit, triplet hit. 53. Five Ways to Play Flamenco Rumba: Today we are going to learn the top five Rumba technique. After this lesson, you can learn something like this. Or something like this. Okay. Before we start these five techniques, we will use the Spanish chord progression for all of these techniques. So we just played A minor, G major, F major, and E major. But you don't have to hold vita Barre. You can just hold it like normally. So A minor, G major, major E major. So the first technique that we are going to look at is the really basic Rumba technique, and Rumba is in eight or in four. So in this movement, it will be like this. So in this one, the first movement is a hit, and then you can go up with the index finger. You go down with the index finger where you turn your hand and you go up with the tumb. So hit, up, down, up, hit, up, down, hit, up, turn, turn. You can also add some variations with the sound because you cannot hit in different places. So you can hit here or hit here, it will sound different. The next Rumba technique that I'm going to show you is like Park acid Rumba, and it sounds something like this. So what we are going to do in this technique, we are going to develop the first basic Rumba technique, and we will add something in the beginning and then it will sound a little bit different. Now, this one is in eight. So at the beginning, we will add a golpe, which means you add a heat with your ring finger while you go down with your thumb at the same time. So it is like this. This will be the one. So two is waiting, and then you can, silently come back to the top and then three or the fingers down with the nails, and four sump up. So go up, we, done. And after you can just add the basic Rumba technique. So it will be go way, done up, hit up, done, up, go way, done, it up, down up. This is how it sounds when it's faster. You can add some mutings and then it will sound like very percussive. So how do you add the mutings? You can just, like, open and release the chords. The third technique that we are going to look at is a little bit softer and I called this the one note Rumba technique. Now, instead of playing a full note or the full strings, we are going to play only one note with the Rumba, so it will be like this. How do you play this technique? The first movement is a done. Done, wait, and up hit, up, down. Here, there is one more difference in the sound, which is the index finger does only the last few movements. So it is up, down, up. Down, down it, up, down, down, down, up, down. With this technique, it's quite nice because you can use like a moving thumb as well, and it will sound really amazing just using this technique. So for example, you can play like an E dominant seventh chord or actually an E major flat five chord. So it means that you put your little finger on the third fret of the D string, and it sounds like very dark. And then you can just use a moving thumb which means that you play the E string, the A string, and the D string. Sounds quite nice. Number four, I will call this weight Rumba. This will be very similar to the one before. Although we are going to add some breaks in this Rumba. This is actually, like, a very flamenco sounding Rumba. And it will be quite similar, but there will be some changes. So now we are going to play not just one node but a full chord with a Gape in the first one, and of the second and third is waiting. And then on the fourth, you come back with the tumb. And then instead of adding the heat, there will be a rest there, and then up down up is the ending. So let's see how does that sound. This Rumba has a little bit more space in between, and then you can just practice with the metronome. So it will be just like one, wait, wait, wait, up done. And the final Rumba that I'm going to show you, I call it the Catalan Rumba or the Gabriela technique. And this sounds very different from the ones before. I'm going to show you how does that sound. So what do you do in this technique? In this technique, you are going to play triplets and hats. And it is also in eight, but it's kind of on a way that you play like one, two, three, four. So you play a triplet on the four and after you add the heat. At first, you actually need to muster the flamenco triplet to sound good. And to play the flamenco triplet you use, especially with this one, you can't start in any other ways. You use your middle and ring finger, you order hit. And after you turn your thumb away and you turn your thumb back. So it's hit, done. Heat, done. In this case, you will just do one triplet, and then you add the heat. So one, two, three, hit, one, two, three, hit, one, two, three, hit. Try to do it like a fast turn, and then it will sound amazing. 54. Fast Spanish Strumming Exercise: This time, I will show you a hard cover somebody in a fast and exciting way. So then the background music doesn't sound so plain when you play it. After this lesson, you will learn something like this. So this is one of my original composition which is called journey. And I will show you how I do this fast kind of background music. So your hand is in a fist. And after you go up and down with your fingers, all of your fingers down and your thumb up your nail, I mean, both cases. You have to make really little movements because if you make big movements, it will be really difficult to go fast. But if you make little movement, you can fasten it up. So you can just tract d without playing any chords or anything like that. And then when you are fast enough, you can start playing the chords. So now I'm playing a D minor. Second thing that you need to know with this kind of playing that you can make oxens. And what I usually do, I make an oxen, which means that you go hardly done after done up done up. And you can practice it like De done up done, up. And first, it sounds like this. And you can make accent in a lot of other ways as well. And you can use, for example, a Golpe to make an accent and after you can go down, up, down up. Golpe means that you go down with your thumb and you make a hit with your ring finger. So it is like this. So basically, slowly, it looks like this. Golpe down up, Dw up. Goopy down up, downp. And this is what I'm using in the journey. And this is actually a kind of rhythm as well, because it is go pedane up, done, up, go pane, up, down, up and go pedanU. So it is like broken rhythm, and a lot of people using this in tango, which is like And after the chords are G is an open D minor. And after a short major and G minor. And after D sharp major, back to D minor. Only the D sharp Major is not in the key. Owise everything else is in D minor, but it's a nice addition to the song. So I hope you enjoy this video and see you guys later with Aor guitar lessons. 55. Mariachi Strumming: Today, I'm going to show you how to do the Mexican Mia cheese strumming. And after this lesson, you will learn something like this. This chord progression is coming from Desperados Canson the mariachi, and there are two chords that you need to use, and these are E minor and B seven. And there is two parts actually in the song. This was the first part. And in the chorus, there is a second part, and the chords for that one is A minor, E minor, and B seven, and E minor. And then it sounds like this. The movements. When you practice this at first, I suggest you to touch the strings because otherwise, it can get quite annoying. So you mute the strings with your left hand if you are right handed guitarist, and then we start the movements. So the first one is like a kind of osgiado but it's quite different from the flamencoras guiado because in the flamencasGiado, you need to make accents in every single movement, but it is more like the fingers follow each other. So you use your ring, middle, and index finger, at first, your ring and then middle index. But it's more like they are following each other and it's not so much like accent on each of the movement, but they are all together going down. So it is like It's like you turn your hand and you use these three fingers together without so much accent. So that's the first movement. And after done with the tomb and with the tomb. So it is And now we are getting to the next part of this strumming, which is basically kind of mute or like a hit, and you do it on a way that you use all of your fingers and you hit the strings. So it is like This was so difficult for me because I never used this before. If you guys were using this before, maybe you can get this one a little bit easier than me, but I needed to practice a lot. This particular movement, use all of your fingers and you hit the strings and you touch with your palm the strings. Okay, so so far, Rasgueado done, up hit Rasgueado done, up hit. And then to finish the movement, its aggiado done, up, hit, done, up, aggiado do, up, hit, done. Mm hmm. It's quite nice one. And after you can use different chords to practice this one, you can make, like, one of these Maria cheese strumming on each of the cords, for example, in A minor E minor B seven, A minor. And then you can just do it very slowly at first. And of course, once you are confident with these movements, you can speed it up. I practiced a lot actually while I was watching movies and things like that, and I'm just to mute the guitar and do the movements. Until it became familiar with my right hand, and then you can go with the right speed. 56. Playing with the Thumb on Flamenco Guitar: Pulgar means stump, so it is playing with the thumb. So let's see how does this technique look like and sound like? Okay, so at first, we need to have a look at how you play Pulgar. The thumb is kind of almost 90 degrees, and then you end up on the next string. So it is kind of pulling down and ending up on the next string. Now you can play it from the tomb or moving the thumb, but it is better to play it from the wrist, so you have a little bit more power. So whenever you play, you kind of move little movements with your wrist and then you can have a better sound. So the first exercise that you can do to practice Pulgar is playing four notes per bit exercises. And then we are only going to use, actually the top four strings because Pulgar is not really used in the bottom two strings, then you can use Picado. At first, you can just go up and down with four notes per bit, so it will be like this. The next step of this exercise will be string skipping. You play E, D A G. So it will be Now, the key to do this exercise because you need to end up on the next string, you have to lift up again to go to the string that you need to play and then play down. So it is like pulling down, lifting up a tiny bit, and go to the next string. Mm. 57. Picado Technique: Picado is an alternate picking between the index and middle finger, and you are pulling up your finger to the next string. You are always alternating with the index and middle finger. And when you start to go upwards, it is important to stay in the same position so you can just lift up the whole arm to keep the position. So it will look like this. Your thumb can be on the E string, but once you start going upwards, then you can use the guitar body for a support, and then you can just, like, push the thumb onto the guitar board and pull the whole hand up. When you play with Picado, it is important to do the movements from the bottom. So you can be faster and it won't be so exhausting, like when you just, like, move one part of your finger. Now, I'm going to show you a few exercises to practice the alternate picking. This exercise is called three note per string exercise, and everybody is doing them. All the guitarists that I know, all the guitarists that I ever played with, it is a speed exercise, and some people can do this really, really fast. The exercise will be that you play with your left hand index, middle, and ring finger, and then you go to the next string. So you play three notes per string. You play three notes per string because you want to switch always with a different finger. That's why when you play three notes, then you always use the next finger to play the next string. So if you start with the index, it will be index, middle, index, middle, index, middle, and then again, index, middle index. When you're going down, you are going forward. Once you are in the bottom, you push everything up and you start to go backwards. You can do this exercise going all the way up on the fretboard or you can just go backwards after a while. So once you are here, You can do few things to practice the switch because that's the most important thing. You need to make sure that you are always doing an alternate picking. So to practice the switch between positions and going forwards and backwards, you can practice it only on two strings. So you can do this exercise. So only on the bottom two strings, or you can do exactly the same exercise on the base two strings. This can be quite difficult if you are not used to playing an alternate picking. But it's very important to train your fingers for alternate picking. Otherwise, it will be very difficult to go fast later on. Before we put on the metronome and play this exercise, we need to do a few things to reduce the movements. On the left hand, when you play, don't lift up after you play, which means you play with the index and stay and then middle finger and you stay. Many people play like this. This is wrong and you add too much extra movements. So the best is just to stay once you played and you move when you need to move. When you are going upwards, you can do a reduced movement exercise. So instead of moving one by one, you can move together with the ring and middle finger, and then it will reduce the movements that you do on your left hand. This will take a little time to get used to, but it will really improve your speed. Now, let's play this with the metronome at 100 BPM one note per beat, and let's see how does it sound. Once you are comfortable with this and you can follow the metronome, you can switch to three notes per beat exercises. So you will have less cliques, but you need to play three notes. So let's try to do this at 60 BPM. You can also count in to know the speed, so it will be like this. One, two, three, one, two, three, one, two, three, one, two, three. To sound good in improvisation, it is important to push the speed up and you should be at least 130 BPM. But some people can do this super, super fast, like 200 BPM. So I will show you how it sounds at 130 BPM. This speed is not going to happen overnight and it will be quite hard at the beginning. So I recommend that you try to find your speed. And once you find your speed, you try to work it to go faster. So if your speed is 80 BPM, then try to practice it at that speed for a while and then try to push it up a little bit more like 90 BPM and try to keep up. There are few tricks that you can do. For example, try to go to 90 pm if your speed is 80 Pm, even if you cannot do it and try to follow it. And even if you cannot do it, it doesn't matter. But once you go back to 80 BPM, it will be a little bit easier because you were pushing it so hard to try to follow 90 pm. So, for example, I can put my speed up to 150 BPM, and then it means that I will be better at 140 PM. So this is quite, you know, challenging at this speed, and even for me. So that's why I need to do quite a lot of exercise to get to this one. But now, when I try at 140 BPM, it will be easier. You can do another exercise for the alternate picking, which is very similar to this one. But now we are going to different directions. So instead of going forward, at the beginning, we are going backwards, so it will look like this. And once we go to the next fret, then we go forward. These two exercises are quite important, so I recommend to practice this every day or whenever you start to play the guitar, at least five, 10 minutes before you go onto the scales, it will help you to train your brain for alternate picking exercise and also to train your fingers to play faster. Now, let's go on to some other exercises to practice the alternate picking. 58. Alternate Picking Exercises: Now let's have a look at the alternate picking exercises which will help or technique, and it will involve some string changing. One way to do that one, you can hold a third, which means that you play two notes in a third apart in a scale. In this case, we can just hold the seventh fret of the E string and the eighth fret of the B string, and then we can play three notes on a way that we will start with B B. Let's do the same exercise with the metronome. It is at 60 BPM. And we will play three notes per bit. One, two, three, one, two, three, one, two, three, one, two, three. We can play certs as well on a way that we will go down in the fretboard and we will just add different type of certs and after we will go back up. So this exercise will look like this. And, of course, the tabs are available, so you can download them and have a look at them. Now let's do the same thing with the metronome. The second exercise will be quite similar, but we add some melodies inside as well with desserts. Oh 59. Picado Zigzag Exercise: The next exercise is called Picado zig zag exercise. I have to warn you this is a difficult one, especially if you don't do an alternate picking. So basically, with this exercise, you are practicing string changing with different fingers while you are going up and down with a zig zag position. The easiest is to start this exercise with the index finger, and you need to arrive back with the same finger to know that you were doing it right. And the exercise looks like this. One, four, one slide Ziag once you are in the top, you zig zag back down. And I arrive with the index finger again, and I repeat it again and do the same. But now starting on the second fret. And so on, you can work all the way up on the fretboard, and you can work your way down as well. If you want some extra challenge, start it with your middle finger, and then you need to finish with the middle finger, but this will make it even harder. 60. Picado Agility Exercise: Our final exercise will be Picado AgidtEercise, and this will be playing certain pattern on the B frigian scale, which is part of the G major scale. At first, let's have a look at the frigion scale and after I'm going to show you the exercise. Seven, eight, ten, seven, nine, ten, seven, nine, ten, seven, nine, seven, eight, ten, seven, eight, ten. And the pattern will be. We will start on the seventh ft of the high E string, and we will play three notes, fowards, five notes backward until we go all the way to the top. Once we are on the top, we will work our way down just playing normally the scale, and we will come back up inserts. And when we come back up, we change the scale in one point because we will play here the harmonic minor or the frigian dominance scale instead of the frigion scale. So this will be like this. Instead of The tab anyway is available, so you can download it and you can have a look at it. But let's have a look at how this exercise sounds. One, two, three, one, two, three, four, five, one, two, three, one, two, three, four, five, one, two, three, one, two, three, four, five, one, two, three, one, two, three, four, five, one, two, three, one, two, three, four, five, one, two, three, one, two, three, four, five. Now we are going just go down. And then we will come back inserts, which means we will skip one, forward, one, skip one forward, one. Now I'm going to put on the metronome, and I'm going to play this scale. 61. Alzapua: Today, we are going to learn Alzapua and after this lesson, you can learn something like this. As pos a flamenco guitar technique. I don't think it appears in any other music, and it is playing triplets with the thumb. The thump plays at first one note, so you go to the next string. And after you turn your wrist a little bit and playing two or three strings down, and then you turn back with the thumb while you go to the E string or the string where you need to start. One, two strings back, one, two strings back, one, two strings back. This can take a while to muster, and it's very important how you hold the hand, because if I am, completely opposite to the camera, you shouldn't see my thumb because I'm 90 degrees with the thumb. Or almost 90 degrees, which means that my poem is away from the guitar. It's not like this. It's like this. I also use my index finger to stop the technique. So I have this kind of position, so I know when I need to stop the thump. You can also practice going up with the thumb on a way that you at first end up on the E string and after the A string and after the D string. This will help you to change strings when you are doing the ozapua technique and go back to the right string. It's very important to do the ozapua from the wrist, not from the tomb. So it's not the thumb that is moving, but the wrist is moving when you do the triplet. A lot of people do it from the tmp. And then they have a problem speeding this up or it's not going to sound good. But if you do it from the wrist, you can do it a little bit more smoother and more even. At first, when you start practicing it, you can do some oxens which will help you to master the position, which means at first you add theocent on the first one and then quiet quiet. Then you add theocent on the second one. It's a little bit harder. And then finally the third one. And then do this around 100 to 1,000 times. So you have it in your hand when you practice it. Now, let's get into some exercises so we can muster this one. The first exercise will be just holding an F short minor position, but not with a barrel, it's like an open chord and then we go down one swing S swing four times. And after we will add the middle finger on the curt fret of the earing and we repeat it. And finally, we open up and repeat it. So four times on each position. And last time you can go back to the index finger, and then we start doing the same thing with the same position, moving everything, one string down. And finally, again, repeat everything moving the position down, one string, with the right hand and with the left hand as well, and we repeat it. Let's do this exercise again, but using the metronome. The second exercise will be playing a bassline on the E major chord, and it will look like this. Now, let's do this exercise with the metronome. And the third exercise is actually one of my original songs in my guitar duo, which is called D fuego, and it is called Ancient Woodland. And it sounds like this. And the second time, you repeat it, but then the ending will be different. 140 pm. The 62. Flamenco Tremolo Exercises: Today, I'm going to show you how to play the flamenco tremolo. After this lesson, you will learn something like this. Yeah. So the flamenco and the classical tremolo is a little bit different because in the classical tremolo, there is only four nodes. While in the flamenco tremolo, there are five nodes. In the classical, it is Tum and after index middle ring finger. So it's one, two, three, four. While in the flamenco tremolo, it is Tum index, and then ring middle index. So it is one, two, three, four, five. Also in the classical tremolo, the tamp is ending up freely, and in the flying code tremolo, the thumb ends up on the next string, so there is a little bit firmer baseline going on. So the first thing to do, to practice this technique is to really know the sequence. So what you need to do is actually just go one, two, three, four, five, one, two, three, four, five, and do this a lot until it is automatic. One, two, three, four, five, one, two, three, four, five. And after you can start going down with the base. What I mean about that one that the next string is coming all the time after you play one string. So then it could be one, two, three, four, five, next string, next string. As you could see, in the last movement, I didn't end up on the next string. So this is the only time when you don't end up on the next string, but end up freely because you would interfere with that string because you are already playing that with your fingers. So at first, you just need to repeat this kind of exercise fight a lot without using any metronome or anything like that. And after you can start using the metronome. Although it's good to practice this on the E string and also on the B string and also on the G string as well, because it will get harder and harder if you just practice it on the E string. So it feels something different when you practice it on the B string or when you practice it on the G string. So there is one exercise that you could do to practice. This one is just mute the strings. It means that you are just touching the strings and after you go through all the base notes until you go down and you play the E string, and after you swap and you start playing the B string and you go all the way down with the baselines and after you start playing the G string, and you go down with the baselines, and then you go back to the B string and E string. So how does this look like? Let's see with muted hands. So, one, two, three, four, five, one, two, three, four, five, one, two, three, four, five, one, two, three, four, five, one, two, three, four, five, switch. Strengths. Okay, let's see how does it look like when you hod a chord? So you can hod any cord that you want. I will hod an E major, and I will do exactly the same exercise. And after we start using the metronome. Okay, let's start using the metronome. The first thing that we need to learn that every note is even, so we will play one note per bit and we will start to raise up our speed after that. We can start in 100 BPM, and then we will start raising our speed gradually. Okay, let's raise our speed to 160 BPM, but you shouldn't jump that much. You should just go gradually and practice a lot in one speed if you're not even. And 200 Pm. Now the next thing that we need to start getting used to is comting to five. And if we go down to 40 PM, it is five times 40 is 200, so then we will be the same speed. So let's go down to 40 BPM and do the same exercise. One, two, three, four, five, one, two, three, four, five, one, two, three, four, five. So 90 BPM is a great speed to play it, and it sounds very nice at 90, so I wouldn't go further, especially, I think it is my speed. If I start to go further, it starts to sound quite messy. So the next thing is how you can play a tremolo song. You can just put together some chords and play just the bass lines. And that's why I put together an exercise for you. And then it is just a bassline. And after we will add a tremolo to the E string and to the B string as well. So you can practice that one separately, and it is a little bit more exciting to practice this one than just practicing on a chord. But also, you can just make a chord progression and practice the same way, or you can just make up any song. You can just make some kind of nice chord progression and then adding the tremoloi to make it sound quite nice. Okay. So in the next song, I'm like, I put together like a baseline. So we will play one, two, three, four, one, two, three, four. And after we will practice the tremolo using the E string, and after we will practice the tremolo using the B string. So let's put on the metronome, as well, and again, 90 BPM, and we will play the song. Mmm Mmm. Now, let's repeat the same bassline. But now we will play the tremolo on the B string, which will be so much harder you will see. Just try it out, and then we will go back to 90 BP and so the same speed.