I have noticed that bulerias’s rythm structure is the same as solea’s one. Accent on time 12, 3, 6, 8, 10 etc. As a total beginner, I have started to study solea with my teacher in order to approach flamenco. Thanks to your exercises and the quality of your explanations, I can train with another approach and deepen my learning. So thanks you for everything Maestro 🙏🏼.
This is really helping. I got stuck on the first half, beats 12-3-6, with the 2And & 4And. So, I practice only the first half, paying special attention to beats 2And & 4And, until I get some feeling for it, going in and out of counting - counting then feeling then counting, until I feel strong. Then, I practice the second half 6-8-10 the same way, counting feeling counting, paying special attention to problem areas. Then, put it all together going over and over counting feeling counting, until I feel strong in the entire exercise... If I have any energy left, I practice free play with it. And now, I am able to loose myself with a melody, and know where I am inside the compas. Very clever and effective way to trick my brain into paying attention to 2 things at once. Thank you.
absolutely wonderful, thank you. I have been struggling for years to get Buleria compass, this is what i needed to get a launch into actually playing correctly.
Thank you Grisha! Always had a great deal of respect and have always been wowed by your skills since seeing you at the Guitar Salon last year. Great lesson, really excited you are teaching more on your channel. It's getting me to practice new things and think of things I already practice in a new way!
Es la primera vez que veo a alguien no hispano explicar tan bien el flamenco y replicar a Paco a la perfección, me inclino ante semejante talento,me gustaría conocer un poco más este guitarrista y si tiene obras propias
Great lesson. Many thanks Grisha. Having a lot of trouble with Bulerias, but your explanation makes it sound a lot easier. I will try it on the weekend.
Many thanks Grisha. Something I'll try. As you say my habit of counting 1, 2 and 3s can leave me lost in the middle of a compas. Did make me smile that with the A chord it was a matter of do what I say and not what I do 😎
Well, I have seen so many videos, but you are realy the best - We can say : you are doing everything in a gooooooood pedagogical way ! Just !!! I hope you will try to work with sheets music, so that it will be more easier for us to follow you with ears and eyes both. I hope you will think about it, Surely, it will not take so much from your time, but it will bring your lessons so many perfect strategy and also more students and (likes). God bless you man ! wish you all the best from Berlin-Germany . . .
Thank you Maestro for a detailed explanation. It made you breathless between counting 😅 like a workout but to make it easy for us to understand you did it. You are great ❤
Hola maestro! Saludos desde Medellín Colombia! Hey i wanna ask You about what do you think about a Godín Guitar.? And also i would love to have the Best classic guitars but they are expensive. What do you think about the Yamaha C40 and the other Yamaha models that they are not as expensive and i hear that those are really good guitars. thanks a Lot!
Thank you so much for sharing your knowledge, this tutorial is amazing!! A little question, why did you recomend to avoid tapping with our nails? Is it bad for the nail itself?
Maestro I find it really hard to cycle back into the compass after playing a falseta or after the singer finishes his line what can I do to not loose rythm because I sound out of beat after that.. thankyou again for all your information 🙏
Regarding your falseta's try and break them down into smaller rhythmic groups. At the beginning of the lesson Grisha mentioned a Bulerias can also be thought of as two groups of three followed by three groups of two, but eventually it is easier to count the whole thing in twelve because it is easier to keep track of things. The phrases in your falseta lines should be planned ahead in smaller phrases of 3 or 2 beats and all them during a compas phrase should be adding up 12. Getting good at counting to 12 and having that in your head parallel to your phrases will make it clear what is fitting and what needs adjustment. Not sure how your singer is setting up his phrases, might need to talk to them, some times in flamenco there is an added group of 6 where you count 7 8 9 10 11 12 twice in a row, generally 6 groups of 2 so the 12 in the first set of 6 7 8 9 10 11 12 isn't accented, then after the second set the compas starts over again as normal. This generally only happens at the end of their section and is known as a remate... not sure if you ever played the blues but it is a similar concept to a blues turn around. Maybe something like that is happening. Hope that helps some, hopefully Grisha chimes in.
I love you. From this light self sarcasm. "I'll also make you...Haha I'll make you??!!!" I am wondering how many human teachers could realize that. In your abilities perhaps only you. When I first listen and saw you I was wondered if you are robot. "LoL almost". I am wondering how your humbleness helping to be the 1st classical/flamego in the world {I believe the most hard than all}. It is something individual or push you to be better than yourself. I am almost sure that in your new country doesn't understand it very well. As I almost sure, that humbleness is related with a hard soviet training even education, that somehow is related with what you became. You are my best guitarist. To say it better you are the only guitar player that has a meaning to learn about. The reasons is that you are in my most preferable guitar genre and you are the best. It's instrumental. So guitar is the theme. It's physical sound and this is the main reason that content is created mostly from the player. Ok the composition is always matter, but in this case, most times there is not second instrument. There is not pedals, effects or whatever. That's why some video of yours are funny "especially an one hour video flamego presentation you perform it with corona mask. I believe a lot of guitarist stop their training with this video". Such power and technique with a face seems like solid. I have the conclusion that it have to do with humbleness. Music scene is foul of faces body performances that are desperately needs to declare "Its perfect. I play the best theme ever". But there is also the opponent attitude mainly with yourself. "Don't share your feelings with your image this moment. You want to take a pure feedback". "You can't convince for real with body language without real good content". "Oh... This almost dance show, is almost emotionally black male. Why this desperate need to describe it as a guitar show and not as a dance/music show?". Maybe you know... I think both of us knows that felicity comes after the known. The routine. The familiar territory. Conclusionary if some one chase true experience knows very well that it doesn't mind what he will seems like by his image or what others thinks. My path doesn't bring me to a piece and a balance with this society. That's why I quit the declaration of humbleness by the body language in my relationships. But for you I think that this morality it's perfect. Your playing is extra bolt eitherway. With this image you live all the presentation of your moment to your playing. It's huge. Sorry for what I understand and what i don't. As also sorry for what you don't understand and the opposite. I take the courage to write them down from the fact that i love you. Sorry also for this awkward fact. With other artists, mostly composer musicians, I love their content. You are from the rare cases, that you are the content.
Yes, for the 12 beat compas it is all too common. But not all bulerias are in 12, some are in 6, and then the accent every 6 beats is as strong as it's ever been.
Grisha Goryachev Yes you are right. Accompanying singers they play in sixes and often the remate can come even after the 12 like it was the 6th beat. Depends where the singer finishes.
I don't get it. what are we hoping to achieve by playing on all these off beats? it seems like learning to do this is a skill in itself but seemingly without relation to the regular bulerias. someone enlighten me. it feels like he's going to say "now that we finished adding the square root to the end of every other downstroke, let's balance a plate on our heads while we accent every third upstroke while blinking on thr even numbers!" I'm sure I'm just not getting it
The 12 beat count is used as a tool to teach westerners who can't feel the 5 actual beat pulse by feel, this I don't believe helps people learn the flamenco palo as real Spanish flamenco don't count even as kids, they feel the pulse of each Palo. Also it is always 12 first because the counting concept was made so you can think of it like a clock. 12 is on top of a clock, not 1. 12, 3, ,7,8,10 is the actual 5 beat count since ages Other Palos have less count like 10. I would prefer to see Misha the great player that he is to finally try to play with a flamenco group or write his own falsetas and to try improvising rather than do videos like this for classical guitarists. He is too great a player to stay a classical style recitalist. All the Spanish flamenco guitarists write all their own falsetas.
![BLACK BAG - Official Trailer [HD] - Only in Theaters March 14](http://i.ytimg.com/vi/Du0Xp8WX_7I/mqdefault.jpg)
This is the best tutorial for learning bulerias
such a detailed explanation... awesome maestro
This is a great exercise. It forces you to really keep track of the beats as you move along. Many thanks.
I have noticed that bulerias’s rythm structure is the same as solea’s one. Accent on time 12, 3, 6, 8, 10 etc. As a total beginner, I have started to study solea with my teacher in order to approach flamenco.
Thanks to your exercises and the quality of your explanations, I can train with another approach and deepen my learning. So thanks you for everything Maestro 🙏🏼.
This is really helping. I got stuck on the first half, beats 12-3-6, with the 2And & 4And. So, I practice only the first half, paying special attention to beats 2And & 4And, until I get some feeling for it, going in and out of counting - counting then feeling then counting, until I feel strong. Then, I practice the second half 6-8-10 the same way, counting feeling counting, paying special attention to problem areas. Then, put it all together going over and over counting feeling counting, until I feel strong in the entire exercise... If I have any energy left, I practice free play with it. And now, I am able to loose myself with a melody, and know where I am inside the compas. Very clever and effective way to trick my brain into paying attention to 2 things at once. Thank you.
absolutely wonderful, thank you. I have been struggling for years to get Buleria compass, this is what i needed to get a launch into actually playing correctly.
He is one great guitarist and guy, the best I’ve seen. 🎶🎶🎶
Your school is pure gold !
Thank you Grisha! Always had a great deal of respect and have always been wowed by your skills since seeing you at the Guitar Salon last year. Great lesson, really excited you are teaching more on your channel. It's getting me to practice new things and think of things I already practice in a new way!
Thank you for sharing. Enjoying this very much 👏👏👏
Es la primera vez que veo a alguien no hispano explicar tan bien el flamenco y replicar a Paco a la perfección, me inclino ante semejante talento,me gustaría conocer un poco más este guitarrista y si tiene obras propias
Thank you for the best tutorial for bulerias. It's really helpful. Hope you will also continue the almoraima with other falseta
Thanks for sharing this amazing video 👏👏👏👏👏 very clear lesson 👏👏👏👏👏
Greetings from Portugal 💪
Awesome tutorial: excellent explanation, breakdown and exercises! Many thanks!
Grisha i see u r expresing urself better !!! So cool... the perfection doesnt exist.. so just just enjoy all!!!!! Even the mistakes!
Great lesson. Many thanks Grisha. Having a lot of trouble with Bulerias, but your explanation makes it sound a lot easier. I will try it on the weekend.
You r superb.best teacher I ever seen,thank you very much
Great Grisha your explenation is great
Brilliantly explained by a master teacher and player.
Grisha: Excellent. Thanks.
Very interesting!Fresh and rigorous approach!
Many thanks Grisha. Something I'll try. As you say my habit of counting 1, 2 and 3s can leave me lost in the middle of a compas. Did make me smile that with the A chord it was a matter of do what I say and not what I do 😎
Melhor canal com os melhores exercícios..valeu amigo
Well, I have seen so many videos, but you are realy the best - We can say : you are doing everything in a gooooooood pedagogical way ! Just !!! I hope you will try to work with sheets music, so that it will be more easier for us to follow you with ears and eyes both. I hope you will think about it, Surely, it will not take so much from your time, but it will bring your lessons so many perfect strategy and also more students and (likes). God bless you man ! wish you all the best from Berlin-Germany . . .
Thank you grisha. Respect from Georgia ❤️
Thank you Maestro for a detailed explanation. It made you breathless between counting 😅 like a workout but to make it easy for us to understand you did it. You are great ❤
Finally a proper compas video
Another very informative and well presented video. Thank you maestro.
Amazing as always Grisha! I really appreciate this master tutorials!
Thank you Grisha
You are a great teacher! Thanks so much
Thank you so much Grisha for your valuable lessons
Excellent exercise . Can’t do it yet
Thanks a lot maestro
Thank you man, this is amazing, you should do this with fandangos, Thanks Grisha=)
Excellent. Lays the foundation for contra tempos.
love it! thanks so much for the detailed and deep explanation and exercises!
Just i can say thank you maestro you made it clear
Muchas gracias Maestro. Thank you so much Maestro.
This is spectacular. Thank you kindly maestros.
You are An Amazing detailed non HUMAN great teacher!!!!!! I loved! Is amazing how you explain everything 😍
Never been more clear!
Thank you
Muchas gracias
😘
You're the best, Maestro😇🙏
Hola maestro! Saludos desde Medellín Colombia! Hey i wanna ask You about what do you think about a Godín Guitar.? And also i would love to have the Best classic guitars but they are expensive. What do you think about the Yamaha C40 and the other Yamaha models that they are not as expensive and i hear that those are really good guitars. thanks a Lot!
Thank you, very helpful and informative 🙏🏻
Thank you Grisha..❤️
Thank you so much for sharing your knowledge, this tutorial is amazing!!
A little question, why did you recomend to avoid tapping with our nails? Is it bad for the nail itself?
Because your guitar will have a hole bigger than your ex's.
Thank you maestro
Thank you so much sir
Thank you very much. That's awesome!
And what beat do end on ?10 right ?
*Very good Grisha!! Olé !! 8-)*
Oh, this is awesome! thanks.
Fantastic
Very cool! Ty!
very useful thanks !
Гриша, можно русские субтитры? Спасибо!)
D a m n , and for free .. awesome !
Thanks a lot Grisha!
I wish my country's currency wasn't f* up, so I could have some lessons
Brazilian ? Because Real is trash right now
@@zeegfajutaum8571 Sim, B R
dennismenezes me too, feelsbad
Maestro I find it really hard to cycle back into the compass after playing a falseta or after the singer finishes his line what can I do to not loose rythm because I sound out of beat after that.. thankyou again for all your information 🙏
Regarding your falseta's try and break them down into smaller rhythmic groups. At the beginning of the lesson Grisha mentioned a Bulerias can also be thought of as two groups of three followed by three groups of two, but eventually it is easier to count the whole thing in twelve because it is easier to keep track of things. The phrases in your falseta lines should be planned ahead in smaller phrases of 3 or 2 beats and all them during a compas phrase should be adding up 12. Getting good at counting to 12 and having that in your head parallel to your phrases will make it clear what is fitting and what needs adjustment. Not sure how your singer is setting up his phrases, might need to talk to them, some times in flamenco there is an added group of 6 where you count 7 8 9 10 11 12 twice in a row, generally 6 groups of 2 so the 12 in the first set of 6 7 8 9 10 11 12 isn't accented, then after the second set the compas starts over again as normal. This generally only happens at the end of their section and is known as a remate... not sure if you ever played the blues but it is a similar concept to a blues turn around. Maybe something like that is happening. Hope that helps some, hopefully Grisha chimes in.
You're amazing thank you
Thank you so much, Grisha - great video as always. You speak English so well but I don't think you speak Spanish yet!
Thank you! That's a very helpful tutorial again :)
I love you. From this light self sarcasm. "I'll also make you...Haha I'll make you??!!!" I am wondering how many human teachers could realize that. In your abilities perhaps only you. When I first listen and saw you I was wondered if you are robot. "LoL almost". I am wondering how your humbleness helping to be the 1st classical/flamego in the world {I believe the most hard than all}. It is something individual or push you to be better than yourself. I am almost sure that in your new country doesn't understand it very well. As I almost sure, that humbleness is related with a hard soviet training even education, that somehow is related with what you became. You are my best guitarist. To say it better you are the only guitar player that has a meaning to learn about. The reasons is that you are in my most preferable guitar genre and you are the best. It's instrumental. So guitar is the theme. It's physical sound and this is the main reason that content is created mostly from the player. Ok the composition is always matter, but in this case, most times there is not second instrument. There is not pedals, effects or whatever. That's why some video of yours are funny "especially an one hour video flamego presentation you perform it with corona mask. I believe a lot of guitarist stop their training with this video". Such power and technique with a face seems like solid. I have the conclusion that it have to do with humbleness. Music scene is foul of faces body performances that are desperately needs to declare "Its perfect. I play the best theme ever". But there is also the opponent attitude mainly with yourself. "Don't share your feelings with your image this moment. You want to take a pure feedback". "You can't convince for real with body language without real good content". "Oh... This almost dance show, is almost emotionally black male. Why this desperate need to describe it as a guitar show and not as a dance/music show?". Maybe you know... I think both of us knows that felicity comes after the known. The routine. The familiar territory. Conclusionary if some one chase true experience knows very well that it doesn't mind what he will seems like by his image or what others thinks. My path doesn't bring me to a piece and a balance with this society. That's why I quit the declaration of humbleness by the body language in my relationships. But for you I think that this morality it's perfect. Your playing is extra bolt eitherway. With this image you live all the presentation of your moment to your playing. It's huge. Sorry for what I understand and what i don't. As also sorry for what you don't understand and the opposite. I take the courage to write them down from the fact that i love you. Sorry also for this awkward fact. With other artists, mostly composer musicians, I love their content. You are from the rare cases, that you are the content.
Very detailed !
Thanks alot meastro
i really needed this! thanks
Magnificent!
Would you say that these days the accents have shifted from the 6 to the 7 & 8 instead?
Yes, for the 12 beat compas it is all too common. But not all bulerias are in 12, some are in 6, and then the accent every 6 beats is as strong as it's ever been.
Grisha Goryachev
Yes you are right. Accompanying singers they play in sixes and often the remate can come even after the 12 like it was the 6th beat.
Depends where the singer finishes.
Thanks Man! 👍🏽👍🏽👍🏽
太好了！！！
I don't get it. what are we hoping to achieve by playing on all these off beats? it seems like learning to do this is a skill in itself but seemingly without relation to the regular bulerias. someone enlighten me. it feels like he's going to say "now that we finished adding the square root to the end of every other downstroke, let's balance a plate on our heads while we accent every third upstroke while blinking on thr even numbers!"
I'm sure I'm just not getting it
The goal it to develop more rhythmic freedom without losing track of the accented beats.
@@Grisha_Goryachev thanks, senor goryachev. appreciate the reply.
The best!
1. Dois 1.2. Tres 4.5. Seis .7. Oito. 9.10. 1. Dois
too many adverts! blocking
Thank you sir for this detailed lesson
When you play fast... How difficult it is to play slow and practice 😭
leciones sobre como odiar el flamenco...
Grisha, eres Dios. Si vienes a Granada, por favor firma mi guitarra. Gracias.
Ты русский?
Он русский! И один из самых крутейших фламенко-гитаристов!
@@dmitryivanov9530 да сразу по акценту заметно,гитарист крутой слов нет сам играю.
Жаль , что нет возможности получить урок на русском языке..
The 12 beat count is used as a tool to teach westerners who can't feel the 5 actual beat pulse by feel, this I don't believe helps people learn the flamenco palo as real Spanish flamenco don't count even as kids, they feel the pulse of each Palo. Also it is always 12 first because the counting concept was made so you can think of it like a clock. 12 is on top of a clock, not 1. 12, 3, ,7,8,10 is the actual 5 beat count since ages Other Palos have less count like 10. I would prefer to see Misha the great player that he is to finally try to play with a flamenco group or write his own falsetas and to try improvising rather than do videos like this for classical guitarists. He is too great a player to stay a classical style recitalist. All the Spanish flamenco guitarists write all their own falsetas.