How to Play "Entre Dos Aguas," by Paco de Lucía (Lesson #10)
Most flamenco guitar players don’t struggle because of technique—they struggle because everything falls apart when techniques have to work together in compás. This second-to-last lesson of Entre Dos Aguas by Paco de Lucía is where that becomes clear.
In this breakdown, you’ll learn how to connect picado, pulgar, arpeggios, and ligados into one fluid musical phrase—without tension or inconsistency. We go step-by-step through the final section, focusing not just on what to play, but how to integrate everything so it actually feels controlled and musical at tempo.
This is where most players get stuck: practicing techniques in isolation, but never learning how to bring them together. If you want this to actually click, you need to train your timing, phrasing, and transitions—not just speed.
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Thanks John. To that point, and to reinforce it, check out this video of Agustin (El Bola) playing with musicians in Rajasthan. Keep it up!
Dear Ben, I am a SITAR PLAYER,studied with the late Pandit Shankar method under his disciple here in London, UK.
I know that Gypsy Music descended from INDIA as there are 3 elements of Indian Music found in Gypsy music found all along the Westward bound trail from India, Punjab,and Afghanistan. You find all these 3 elements in Jewish, African, Egyptian, Morocco, and into Spain. Singing, Dancing and Playing an instrument. It was there that FLAMENCO developed to its finest art..
I hear elements of Indian music in Flamenco Guitar Music.
I have a classical/ flamenco guitar recently acquired and been messing around with basic chords.
What I would like is to start out from the ground basic level and work myself up to a confident Flamenco guitar player.