Here are six cierres and three short falsetas in a single audio file.

Cierre 1 (0:03-0:04). Everything with thumb and index. The idea comes from a cierre that Tomatito recorded with Camarón. He uses the same rhythmic pattern but plays a real alzapúa, with just his thumb, and changes to C on the ninth beat.

Cierre 2 (0:08-0:09). Everything with thumb and index. The rhythmic counterpoint at the end also appears in cierre 5.

Cierre 3 (0:13-0:14). In the audio file, I end on the fifth string, but these days I'm trying to end these picados with an entire C chord played with the thumb from the fifth string, like Paco Cepero.

Cierre 4 (0:18-0:20). Everything with the thumb.

Cierre 5 (0:24-0:25). The rhythmic counterpoint at the end also appears in cierre 2. The idea comes from the playing of Pepe Núñez and Jose María Molero.

Cierre 6 (0:34-0:35). Another way to work in the rhythmic counterpoint. For beats nine and ten, try to play and slur the F on the fourth string with the left-hand little finger. If this is difficult, go over it thoroughly to eliminate any unnecessary tension in your hand.

Falseta 1 (0:42-0:46). With thumb and index. Works in E, too. Sounds like Niño Ricardo.

Falseta 2 (0:47-0:51). I got this idea from Pepe Núñez.

Falseta 3 (1:03-1:07). The idea comes from what Pepe Habichuela does on "Recordando Esencias." The taps at the end are capirotazos.