Learn how to really feel the compás of Soleá in Part 2 of this flamenco guitar tutorial by Kai Narezo. For flamenco guitar players who understand how the compás of Soleá works, but are having a hard time actually feeling it and getting it in their bones, this video follows up on Part 1 by looking at the most common traditional melodies in Soleá - the Escobilla melodies that so much Soleá material is made up of. We also look at how to feel traditional falsetas and how to incorporate new material into your Soleá without losing your sense of compás.

The compás loop we use in this video (90bpm) can be found here - [ Ссылка ]
You can find all of our FREE compás loops here - [ Ссылка ]

And if you need a refresher course on compás or are new to flamenco, check out our Beginner Course - [ Ссылка ]
Or our Introduction to Flamenco Compás video - [ Ссылка ]

The guitar in this video is Kai’s 1969 Sobrinos de Domingo Esteso (Hermanos Conde)

0:00 - Intro
1:02 - What’s in Part 2?
1:24 - Essential Escobilla phrases
2:28 - Hear it all in Threes
3:28 - Traditional Intro falseta
3:47 - A really common mistake
5:40 - What they don’t tell you about Soleá
6:03 - It’s one more thing that happens
6:46 - Back to that Intro
7:42 - Focus on the melody with compás loop
9:23 - More examples of melody with 10,11,12
10:03 - 10,11,12 as a turnaround
11:41 - Always build in the turnaround
13:08 - Apply it to rasgueado compases
14:28 - Alternate Escobilla and basic compás figures
15:21 - Play minimalistic
15:38 - Example of minimalism and alternating phrasing
17:09 - Phrasing traditional falsetas
18:34 - What am I talking about??
19:38 - Complicated relationship with compás loops
20:13 - How to connect to new material
20:40 - Accenting 12 can be confusing
21:22 - Main takeaways
22:17- Feel the two main ways that Soleá phrases
22:35 - What about the weirder stuff?
22:52 - Wrapping it up

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