Thanks to his rigorous training of 4-10 hours a day since the age of 7, Paco De Lucia has taken most techniques at another level, especially the picados. Many ask how Paco De Lucia plays picado so fast, the only answer is practice, huge amounts of practice. This makes one wonder if there will be any other flamenco guitarist to match his level.

This is not to say that Paco De Lucia flamenco is the one and only, there are many other great flamenco guitar players like Paco Pena, Vicente Amigo and Gerardo Nunez, each of them has created a different style of flamenco, thus ensuring diversity in this art.

In his early years Paco De Lucia met the great master Sabicas, who told him that no one should try to copy another guitar players style, but instead he should create his own. This encouraged young Paco to search for a new and different style.

The result is 50 years of constant touring around the world, a fusion between Paco De Lucia flamenco and all the other big genres of music, namely the jazz fusion with John Mclaughlin and Al Di Meola. The trio is well known around the world as they have toured together in many countries, sharing their beautiful technical accomplishments and melodic phrases.

Today Paco De Lucia is still touring and is intent on releasing a new album. It will be interesting to see the contents of his new album. I am looking forward to it’s release as paco de lucia flamenco is both interesting and challenging for the ear.

Though his favorite genre is the bulerias, Paco de Lucia has written songs in many different styles like rondenas, rumbas, alegrias and tangos. His alegrias in particular are some of the hardest pieces to play technique-wise.

He usually uses a capo on the third fret, and his best known bulerias are the songs “Almoraima” and “El Chorruelo”, both of them are very complex and blisteringly fast. Paco de Lucia bulerias require a level of technique unmatched by any other, so this makes his songs unique.

The biggest asset of Paco de Lucia is his feeling and natural touch on the guitar, and his instrument is always top notch; Hermanos Conde and Domingo Esteso are his most prized guitars which he uses in concerts. He is said to have practiced the guitar about 8-10 hours a day for the first few years, giving him complete control over most of the techniques.

Paco de Lucia bulerias are characterized by the fast paced falsetas which he alone can muster, and his balance of volume and power make what Paco de Lucia is best known for. Sometimes he plays bulerias in different keys, which technique-wise pose an even tougher challenge, which shows he is the king of bulerias; as he is known.

This style allows much room for improvisation on the dancers part, and this encourages the artists to brag with their skills and to initiate communication with the audience. Sometimes the steps of other popular styles are performed in the bulerias flamenco, but it is done so in a fun and provocative manner.

The fast rhythm makes it suitable for the “jaleo”, which is the habbit of shouting interjections of admiration and encouragement to the guitar player, and hand-clapping. The quick tempo makes it hard for a guitar player without a firm grip of the technique. Not only does the guitar player have to play a flurry of notes, but he must also be passionate and connected with the other singers and dancers.

The meter plays a crucial role in the uniqueness of the bulerias flamenco because it provides the freedom for spontaneous and roguish singing and dancing. For the guitar player the quick meter begs him to play in a high key, most commonly A major and B flat major.

Often times it is used to finish off songs in other styles, most commonly the solea, and every flamenco get-together tends to finish in a bulerias flamenco.