PROGRESSIVE STUDIES 3 DVD/BOOKLET PACKAGE

PROGRESSIVE STUDIES 3 DVD/BOOKLET PACKAGE

Soleá, Bulerías and Soleá por Bulerías; Spanish and English

Mehdi Mohagheghi

These three book/DVD contains the three DVD/booklet packages Soleá, Bulerías and Soleá por Bulerías studies for flamenco guitar, suitable for all levels. Measures and falsetas (variations) are gradually studied, reaching the right level to play falsetas of famous flamenco guitarists. Once you dominate all the studies, you will be able to play your own pieces mixing different falsetas studied in these DVDs.

Spanish and English.

Multiple Levels.

Note: All three also available separately, catalog numbers 8493737863, 8493737870, and 8493737856.

Contents

  1. Soleá
  2. Basic "LLamadas"
  3. Study 1: The first 6 beats
  4. Study 2: Beats 6-12
  5. Study 3: Beats 1-12 ( one complete "compás")
  6. Study 4: A complete "compás" using triplet rasgueos
  7. Study 5: A complete "compás" using 4-stroke rasgueos
  8. Study 6: A complete "compás" using 5-stroke rasgueos
  9. Study 7: A complete "compás" using Arpegios
  10. Remates
  11. Study 8: Beats 10-12 ( called Remate) is the ending phrase of each "compás" of solea
  12. Study 9: Another variation of Remate
  13. Study 10: Another variation of Remate using Ligados
  14. Study 11: Another variation of Remate using Ligados
  15. Study 12: Another variation of Remate using Ligados
  16. Study 13: Another variation of Remate
  17. Advanced "Llamadas"
  18. Study 14: A complete "compás" using a remate for beats 10-12
  19. Study 15: Another complete "compás" using a remate for beats 10-12
  20. Study 16: A complete "compás" using Arpegios and Ligados
  21. Study 17: Another example
  22. Study 18: Another example with a new remate
  23. Study 19: Another example
  24. Study 20: Another example
  25. Study 21: Another example with a more complicated pattern for beats 7-9
  26. Study 22: Another example
  27. Study 23: Another example
  28. Study 24: An example with two complete "compás"
  29. Study 25: A complete "compás" using Picado
  30. Study 26: Another example using p/i
  31. Study 27: An example using Rasgueos, with some syncopation
  32. Study 28: A complete "compás" using Alzapua
  33. Study 29: Another example using more complicated Alzapua
  34. Falsetas
  35. Falseta 1: This falseta can be used as an introduction, Paco Serrano
  36. Falseta 2: A traditional flaseta, also useful for improving the left hand technique
  37. Falseta 3: A modern falseta useful for practicing Arpegios, Vicente Amigo
  38. Falseta 4: A traditional falseta using Arpegio/ Picado
  39. Falseta 5: A traditional falseta
  40. Falseta 6: A falseta which can be used as an Introduction, Paco Peña
  41. Falseta 7: A tremolo falseta, Paco Peña
  42. Falseta 8: A modern Falseta, Tomatito
  43. Falseta 9: A modern Falseta, Paco de Lucia
  44. Falseta 10: A modern falseta, Mehdi Mohagheghi
  45. Flaseta 11: An arpegio falseta, Moraito
  46. Falseta 12: A modern falseta, Mehdi Mohagheghi
  47. Falseta 13: This falseta can be used to end Solea, Tomatito
  48. Falseta 14: Ending, Mehdi Mohagheghi
  49. Bulerías
  50. Phrygian Mode
  51. Study 1: The first 6 beats
  52. Study 2: Another variation of the first 6 beats
  53. Study 3: Another variation of the first 6 beats
  54. Study 4: A complete "compás"
  55. Study 5: An example with two complete "compás"
  56. Study 6: An example of beats 10-11-12 used for joining one "compás" to the next
  57. Study 7: Another example of beats 10-11-12 used for joining one "compás" to the next
  58. Study 8: An example of one complete "compás"
  59. Study 9: An example of one complete "compás"
  60. Study 10: Another example, ending with Rasgueo
  61. Study 11: Another example
  62. Study 12: Another example
  63. Study 13: A complete "compás" using a phrase leading to the note "A" on the beat 10. ( Leading Phrase)
  64. Study 14: Another example of the " leading phrase"
  65. Study 15: Another example of the " leading phrase"
  66. Study 16: Another example of the " leading phrase"
  67. Study 17: Another example of the " leading phrase"
  68. Study 18: Another example of the " leading phrase"
  69. Study 19: Another example of the " leading phrase"
  70. Study 20: Another example of the " leading phrase"
  71. Study 21: An example beginning with beat 1
  72. Study 22: Llamada ending on the beat 10.(suitable for playing before falsetas beginning on beats 11 or 12 or 1)
  73. Study 23: Another example of a llamada ending on the beat 10
  74. Study 24: Llamada ending on the beat 6.(suitable for playing before falsetas beginning on the beats 9 or 10 or in between)
  75. Study 25: An example of a rhythmic sentence to change the mode from "A phrygian" to "A minor"
  76. Minor Mode
  77. Study 26: A complete "compás" in "A" minor
  78. Study 27: Another example
  79. Study 28: Another example
  80. Study 29: An example of two complete "compás"
  81. Study 30: A complete "compás" using a phrase leading to the note "A" on the beat 10. ( Leading Phrase)
  82. Study 31: Another example of the " leading phrase"
  83. Study 32: An example of beats 10-11-12 used for joining one "compás" to the next
  84. Study 33: Another example of beats 10-11-12 used for joining one "compás" to the next
  85. Ending
  86. Study 34: An ending for Buleria in "A Phrygian"
  87. Study 35: An ending for Buleria in "A minor"
  88. Falsetas in Phrygian Mode:
  89. Falseta 1: A falseta that can be used as an introduction, Gerardo NÃÃez
  90. Falseta 2: Another falseta that can be used as an introduction, Paco Cepero
  91. Falseta 3: A traditional falseta using the thumb, Manuel Granados
  92. Falseta 4: Paco PeÃa falseta
  93. Falseta 5: Paco de Lucía falseta
  94. Falseta 6: Paco de Lucía falseta
  95. Falseta 7: A falseta that starts between beats 9 and 10(with the 6-beat llamada), Moraito
  96. Falseta 8: A traditional falseta using Picados , Alzapuas and Rasgueos. Paco PeÃa
  97. Falseta 9: A falseta originally used in cante accompaniment, Paco de Lucía
  98. Falseta 10: A falseta that starts on the beat 1, Paco de Lucía
  99. Falseta 11: A very popular falseta, Paco de Lucía
  100. Falseta 12: A modern falseta using arpegios, Paco de Lucía
  101. Falsetas in A Minor:
  102. Falseta 13: A falseta using the thumb, Mehdi Mohagheghi
  103. Falseta 14: A traditional falseta using Picados, Paco PeÃa
  104. Falseta 15: A modern falseta using the thumb, Rafael Cortés
  105. Falseta 16: A very popular falseta using picados, Paco de Lucia
  106. Soleá por BulerÃas
  107. Study 1: The first 6 beats
  108. Study 2: Beats 6-12
  109. Study 3: Beats 6-12 using arpegios
  110. Study 4: One complete "compás"
  111. Study 5: Another complete "compás"
  112. Study 6: Another complete "compás"
  113. Study 7: A complete "compás" using arpegios
  114. Study 8: Another complete "compás" using arpegios
  115. Study 9: A complete "compás" using double arpegios
  116. Study 10: Another example using double arpegios
  117. Study 11: A complete "compás" using Rasgueos
  118. Study 12: An example with two complete "compás" using arpegios
  119. Study 13: An example of starting with beat 12
  120. Study 14: Another example of starting beat 12
  121. Study 15: An example with two complete "compás"
  122. Study 16: Another example with two complete "compás"
  123. Study 17: An example using double arpegios and ligados
  124. Study 18: Another example
  125. Study 19: Another example
  126. Study 20: An example with two complete "compás" , the second "compás" being the answer to the first "compás"(question)
  127. Study 21: An example that ends with Alzapua
  128. Study 22: A complete "compás"
  129. Study 23: Another example
  130. Study 24: An example with two complete "compás" using arpegios
  131. Study 25: A complete "compás" with syncopation
  132. Study 26: Another example with syncopation
  133. Study 27: An example with extensive ligados
  134. Study 28: An example with extensive ligados
  135. Study 29: An example with two complete "compás" using extensive ligados and double arpegios
  136. Study 30: An example with two complete "compás" using p/i and double arpegios
  137. Study 31: An example using Alzapua
  138. Study 32: A more complicated example
  139. Falsetas:
  140. Falseta 1: A traditional falseta using ligados
  141. Falseta 2: A modern falseta which can be used as an introduction , Gerardo Núñez
  142. Falseta 3: A falseta with syncopation by Mehdi Mohagheghi
  143. Falseta 4: A modern falseta using Alzapua . Enrique de Melchor
  144. Falseta 5: A modern falseta , Tomatito
  145. Falseta 6: A falseta using Alzapua , Oscar Herrero
  146. Falseta 7: A falseta with a complicated rhythm , Mehdi Mohagheghi
  147. Ending :
  148. Ending 1: A rhythmic "compás" to end Solea por Buleria

Retail Price: $94.95

Online Sale Price: $85.46

Product Details: 3 Paperback Booklets & 3 DVD Package, Guitar

Product Code: 8493737887

This item usually ships within 5 to 7 business days.


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