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I was told you should not use a metronome all the time, it’s breeds mechanical playing.

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Absolutely nobody in this thread said such a thing. Metronome is essential in order to keep the ball bouncing. Metronome is the flat ground. Unless you want to learn to dribble on the stairs, always use a metronome. I said avoid the flamenco pattern specific metronomes, because they don’t teach you to focus on groove that a basic click teaches you to control. Flamenco metronomes are useful if you are already advanced and composing or trying out ideas, but not for learning how to control time.

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ORIGINAL: Brendan

What Mark said!

Here is a video with a nice clear view of Diego’s foot:

https://youtu.be/NGGAqndvY2o

He taps every other beat most of the time, except when he plays a bit of basic compás as a bridge between letra and falseta. Then, just for that spot, he does the a-tap-tap-a-tap-tap thing Kai demonstrated.

You should have all these rhythms in some part of your body.

Main point: bulerías isn’t a rhythm. It’s a rhythmic aesthetic.

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ORIGINAL: trivium91

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ORIGINAL: Brendan

What Mark said!

Here is a video with a nice clear view of Diego’s foot:

https://youtu.be/NGGAqndvY2o

He taps every other beat most of the time, except when he plays a bit of basic compás as a bridge between letra and falseta. Then, just for that spot, he does the a-tap-tap-a-tap-tap thing Kai demonstrated.

You should have all these rhythms in some part of your body.

Main point: bulerías isn’t a rhythm. It’s a rhythmic aesthetic.

Yeah I guess I just have to practice my falsettas and slow practice in tapping my foot every other beat. I mean it’s one thing to hear it and feel it that way, but another to ask your foot to tap without even thinking about it. I suppose it’s no different from any other falsetta that is really hard at first but feels almost second nature in a week or so. So really it’s just a question of adding this to each falsetta so that it feels like second nature.

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ORIGINAL: Ricardo

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ORIGINAL: trivium91

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ORIGINAL: Brendan

What Mark said!

Here is a video with a nice clear view of Diego’s foot:

https://youtu.be/NGGAqndvY2o

He taps every other beat most of the time, except when he plays a bit of basic compás as a bridge between letra and falseta. Then, just for that spot, he does the a-tap-tap-a-tap-tap thing Kai demonstrated.

You should have all these rhythms in some part of your body.

Main point: bulerías isn’t a rhythm. It’s a rhythmic aesthetic.

Yeah I guess I just have to practice my falsettas and slow practice in tapping my foot every other beat. I mean it’s one thing to hear it and feel it that way, but another to ask your foot to tap without even thinking about it. I suppose it’s no different from any other falsetta that is really hard at first but feels almost second nature in a week or so. So really it’s just a question of adding this to each falsetta so that it feels like second nature.

Mark had linked the video where I was learning Tomatito’s falseta as per someone’s request years ago. So instead of trying to add your foot tap UNDER the falseta you already know how to play, you want to construct the falseta from the ground up, as I do from the very start of that video. Not thinking of the big picture, but one small phrase at a time, one single beat to the next. And notice that I repeatedly loop each phrase several times before moving on to the next beat. That is in order to get used to the flow and feel at tempo. There was a tricky spot near the end where I had to slow down my foot tap deliberately to get it together before incorporating it in with the rest of the falseta at tempo. And after I get each short phrase mastered I will go back to the very beginning so I get used to how it all flows together.

By the time I was done (8 minutes later) I had the entire falseta tied together with the foot tap, because that is how I constructed it from the start. The 12-count or whatever it is, emerges only at the end once I have got it all together. I was never thinking about that while I was learning. Other than I know it started on count 12. The rest just works itself out as long as I do each phrase correctly. This particular falseta often begins phrases on a red slot (contra Tiempo) before the foot tap.

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I mean it’s one thing to hear it and feel it that way, but another to ask your foot to tap without even thinking about it.

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ORIGINAL: mark indigo

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I mean it’s one thing to hear it and feel it that way, but another to ask your foot to tap without even thinking about it.

That's why the suggestions to practise foot tapping with palmas upthread were good ones - because it's good practise for the foot tapping! Put some music on and jam along. You could try practise tracks for dancers with guitar and palmas (basic and simple), or tracks of cante or guitar with palmas (or palmas and percusion) so you can hear what it should sound like. But practise with a metronome too so you can hear yourself better.

[the original "Solo Compas" produced by Manuel Salado had tracks with palmas and guitar, and tracks with just palmas (or palmas and percusion) at different speeds, as well as recordings of complete dances/choreographies.]