Jesse Cook is a Canadian flamenco guitarist renowned for his ability to blend traditional Spanish flamenco with a fusion of world music, jazz, and contemporary pop elements. His erudite technical approach combines intricate fingerstyle techniques, percussive rhythms, and dynamic melodies; all of which marry together to create a distinctive flamenco sound.
Here you will explore five different flamenco ‘licks’ by Cook, all of which involve a variety of specialized flamenco techniques that each present their own unique challenges. You will then explore a short piece in which Cook synthesizes all five techniques into a fiery flamenco solo which is played over the rumba pattern found in Example 1.
The use of golpes (plucking finger taps on the soundboard) through much of the music adds an extra layer of complexity and can make the notation seem complex. To decipher this notation remember that golpe taps on the acoustic guitar top nearest the floor are notated as a cross above the notation/tab, and conversely golpe taps on the guitar top nearest your head are notated by a cross below the notation/tab.
Approaching the characteristically fast runs of picado (picked) notes found in flamenco solos is often daunting but can be simplified by considering some technical approaches employed by the classical school of technique. When it comes to the plucking hand, focusing on shallow plucking movements can greatly help with accessing higher tempos since the fingers don’t need to travel as far to reset into position for subsequent notes. Furthermore, when alternating the first (i) and second (m) picking hand fingers, focus on an alternating ‘kicking up’ motion of each finger after each pluck (much like the motions of a footballer doing ‘keepie uppies’ with their knees and a football).
An efficient way to get a feel for this motion is to tap your alternating first and second fingers on a flat surface as fast as you can and observe how one finger goes up as the other comes down. The fretting hand also benefits from shallow movements: explore lifting fingers off notes by only a millimeter or so. Not only does this continually give the fingers quick access to notes, it helps maintain a stable fretting hand shape which is vital for getting speedy passages technically secure. In short, less movement = more speed.
The examples
Ex. 1: Rumba Rhythm (French style)
Keep your forearm as still as possible during strums with the motion coming instead from a loose wrist. This will make the simultaneous double golpes on the main beats feel more intuitive and secure. Be sure to practice the triplet strumming pattern as slow as possible at first, keeping each individual strum snappy and strong. Click on the video below to watch example 1.
Ex. 2: Tango Style Arpeggios
The opening triplets can be played conventionally p-i-m but if you play them p-p-i as seen in the video, a strong flamenco-esque attack on the first of each triplet is created. With p-p-i the first two notes of each triplet should be played with one continuous rest stroke motion of the thumb (p). Click on the video below to watch example 2.
Ex. 3: Strumming and Picado Picking
When playing the scalic runs keep your plucking fingers flat in order to forcefully drive each rest stroke. Practice slowly at first with a pizzicato plucking hand (i.e. planting the fingertips early), then as you increase the tempo focus more on the lifting motion of the alternating fingers. Click on the video below to watch example 3.
Ex. 4: Alzapua Thumb Technique
This is mostly about thumb picking with down and up motion. To get you started, initially practice just the motion of the thumb notes, keeping the tip of the first finger perched on the first string to keep the hand anchored and still. Use the arrows displayed below the notation to guide the motion of your thumb with the down arrows directing you to catch the string with the back of the thumbnail. Once the thumb motion is secure with the first finger perched on the first string, perform the golpes (shown as muted x in the tab and notation) with the second finger (m). Again, keep focused on keeping the wrist still. Click on the video below to watch example 4.
Ex. 5: Solea
Solea is a slower, sadder style of flamenco music. Once again, focus on a still plucking hand wrist when executing the speedy ascending and descending arpeggiated runs, keeping plucks shallow to allow for speed. When playing golpes and swiped chords simultaneously, focus on swiping the thumb through the strings into the palm of the hand whilst dropping the fingernails onto the soundboard with a loud tap. Click on the video below to watch example 5.
Ex. 6: Final Piece
This combines each of the previous five examples but with slight alterations. Practice each passage separately and slowly at one slow unified tempo until it's all secure. Your metronome is your best friend here: consider a slow 60bpm initially once you've got the physical requirements comfortable then raise the tempo. Click on the video below to watch example 6.
Jesse Cook in action
Luna Llena
This live performance from late 2024 shows Jesse debuting a new piece, Luna Llena. Watch for his emotive melodies, vibrant chords and speedy picato runs!
Solace
This features one of Jesse's favourite styles, Rumba flamenco in a beautiful ballad-like setting. Notice how his single note phrasing sings with a warm tone.
Learn 6 burning country rock licks! Matheus Canteri guides you through hybrid picking, slides, bends, muting, double-stops and more in our exclusive video lesson
"These are six of my favorite modal licks." Molly Miller shows how to put the power of modes to work in blues and jazz using hybrid picking, finger slides, hammer-ons and pull-offs
