Here are some falsetas and, hopefully, some insight on how to put them together within the context of the fandango rhythm. Most of the falsetas were taken from recordings of Niño Ricardo. The ideas are presented below in three groups: starting on beat 1, starting on beat 5, and short ideas to articulate both kinds of falsetas.
Falseta 01a: a basic strumming pattern.
Falseta 01b: Niño Ricardo. Like 01a, it sets up falsetas that start on beat 1.
Falseta 02a and 02b can be used to set up falsetas that start on beat 5.
Falseta 02a is Ricardo. If the rhythm doesn't seem clear at first, notice that it starts with a tap on beat 6, a slur onto the open D string on beat 1, then the open A string on beat 3. Notice how it concludes over 5-6-1-2-3, starting at 0:03. We're going to see more examples of this later.
Falseta 02b: Ricardo. This ends in the same way as 02a.
Falsetas 03a-03c begin with E, C and A octaves. The conclusion (fifth-string slur) starts on beat 4 rather than beat 5, so it's important not to confuse these falsetas with the others. You can use these ideas to separate longer falsetas, or to end a falseta that returns to E on beat 5. The rhythm in the audio files is much more relaxed, like the fandango libre.
Falseta 03a: Ricardo. This brief falseta has inspired many guitarists over the years.
Falsetas 03b and 03c: Marote with Fernanda de Utrera. You can substitute the octaves at the beginning with beats 1-3 of the basic E7-Ami rhythm (Falseta 01a).
Falseta 04: Ricardo. The fifth-string slur starts on beat 5, unlike Falsetas 3a-3c.
Falseta 05: Ricardo. The audio file starts with 01b. The arpeggios run in cycles from beat 1 to beat 5. In order to break the pattern and resolve to E on beat 3, the second Ami arpeggio, heard at 0:20, is a little longer (similar to Falseta 02a). Notice that from 0:22 onward, the ideas run in cycles starting on beat 5.
Falseta 06: Antonio Moya (with Gaspar). I end it with an adaptation of an idea of Sabicas heard in Falseta 07.
Falseta 07: My (slow) version of a Paco de Lucia falseta, heard on "Punta Umbría" from his "La fabulosa guitarra..." album. It ends with an idea of Sabicas.
Falseta 08: Paco de Lucia, also from "Punta Umbría." The audio file starts with 01b. Like Falseta 05, all the arpeggio patterns are in six beats, starting on 1 and ending on 6. The pattern is broken with the extended arpeggio heard at 0:19, which allows for the resolution to E on beat 3.
Falseta 09: Ricardo. Notice the idea heard at 0:18, which probably inspired Paco de Lucía for a similar idea heard in Falseta 08 just after 0:22. Both ideas start on beat 4, so you can use them to finish just about any falseta that resolves to E on beat 3. From 0:18 to 0:27, we can hear the complete ending of the Ricardo falseta used at the end of Falseta 05. At 0:30, we can hear part of the idea in Falseta 03a.
Falseta 10: Melchor. The transcription starts with a six-beat configuration that sets up the arpeggios. The quintuplet arpeggio at the end is similar to an idea recorded by Paco de Lucía.