Systematic flamenco guitar (3 books + 3 DVDs)

Systematic flamenco guitar (3 books + 3 DVDs)

DVDs are compatible in all countries (PAL and NTSC)
Language: Spanish and English
This book and DVD series (3 books + 3 DVDs) by Mehdi Mohagheghi, feature a series of studies for Soleá, Bulerías, Soleá por Bulerías for flamenco guitar for all levels “compás”, “llamadas” and falsetas (variations) are gradually studied, with the aim of being able to perform high level falsetas by well known guitar players.
Having studied the books the guitar player will be able to play his own pieces by mixing different falsetas and “llamadas”.
Contents:
Book/DVD 1. Soleá
- Basic "llamadas”:
Study 1: The first 6 beats
Study 2: Beats 6-12
Study 3: Beats 1-12 (complete “compás” )
Study 4: Complete “compás” for 3-stroke “rasgueos”
Study 5: Complete “compás” for 4-stroke “rasgueos”
Study 6: Complete “compás” 5-stroke “rasgueos”
Study 7: Complete “compás” using arpeggios
- Remates:
Study 8: Beats 10-12, called “remate” , is part of the end of each solea “compás”
Study 9: Variation of “remate”
Study 10: Variation of “remate” using “ligados”
Study 11: Variation of “remate” using “ligados”
Study 12: Variation of “remate” using “ligados”
Study 13: Variation of “remate”
- Advanced “llamadas”:
Study 14: Complete “compás” with “remate” for Beats 10-12
Study 15: Complete “compás” with “remate” for Beats 10-12
Study 16: Complete “compás” using arpeggios and “ligados”
Study 17: Another example
Study 18: Another example with new “remate”
Study 19: Another example
Study 20: Another example
Study 21: Another example with a more complicated pattern for beats 7-9
Study 22: Another example
Study 23: Another example
Study 24: An example with two complete with two full “compás” s
Study 25: Complete “compás” using Picado
Study 26: Example using p / i
Study 27: An example using “rasgueos” , with some syncopation
Study 28: Complete “compás” using Alzapúa
Study 29: Another example using more complicated Alzapua
- Falsetas:
Falseta 1: This falseta can be used as an introduction, Paco Serrano
Falseta 2: A traditional falseta, also useful for improving the left hand technique
Falseta 3: A modern falseta useful for practicing arpeggios, Vicente Amigo
Falseta 4: A traditional falseta using Arpegio/ Picado
Falseta 5: A traditional falseta
Falseta 6: A falseta which can be used as an Introduction, Paco Peña
Falseta 7: A tremolo falseta, Paco Peña
Falseta 8: A modern Falseta, Tomatito
Falseta 9: A modern Falseta, Paco de Lucia
Falseta 10: A modern Falseta, Mehdi Mohagheghi
Flaseta 11: An arpegio falseta, Moraito
Falseta 12: A modern Falsetao, Mehdi Mohagheghi
Falseta 13: This falseta can be used to end Solea, Tomatito
Falseta 14: Ending, Mehdi Mohagheghi
Book/DVD 2. Bulerías
- Phrygian Mode
Study 1: The first 6 beats
Study 2: Another variation of the first 6 beats
Study 3: Another variation of the first 6 beats
Study 4: Complete “compás”
Study 5: An example with two complete with two full “compás”
Study 6: An example of beats 10-11-12 used for joining one “compás” to the next
Study 7: An example of beats 10-11-12 used for joining one “compás” to the next
Study 8: Example of a complete “compás”
Study 9: Another example
Study 10: Another example, ending with “rasgueo”
Study 11: Another example
Study 12: Another example
Study 13: Complete “compás” using a phrase leading to the note "A" on the beat 10
Study 14: Another example of the “leading phrase”
Study 15: Another example of the “leading phrase”
Study 16: Another example of the “leading phrase”
Study 17: Another example of the “leading phrase”
Study 18: Another example of the “ leading phrase”
Study 19: Another example of the “ leading phrase”
Study 20: Another example of the “ leading phrase”
Study 21: An example beginning with beat 1
Study 22: Llamada ending on the beat 10.(suitable for playing before falsetas beginning on beats 11 or 12 or 1)
Study 23: Another example of a “lamada” ending on the beat 10
Study 24: Llamada ending on the beat 6.(suitable for playing before falsetas beginning on the beats 9 or 10 or in between)
Study 25: An example of a rhythmic sentence to change the mode from “A phrygian” to “A minor”
- Minor Mode Study 26: Complete “compás” in "A" minor
Study 26: A complete “compás” in "A" minor
Study 27: Another example
Study 28: Another example
Study 29: An example of two complete “compás”
Study 30: A complete “compás” using a phrase leading to the note "A" on the beat 10. (Leading Phrase)
Study 31: Another example of the " leading phrase"
Study 32: An example of beats 10-11-12 used for joining one “compás” to the next
Study 33: Another example of beats 10-11-12 used for joining one “compás” to the next
Ending
Study 34: An ending for Buleria in "A Phrygian"
Study 35: An ending for Buleria in "A minor"
- Falsetas in Phrygian Mode: Falseta 1: A falseta that can be used as an introduction, Gerardo Núñez
Falseta 2: Another falseta that can be used as an introduction, Paco Cepero
Falseta 3: A traditional falseta using the thumb, Manuel Granados
Falseta 4: Paco Peña falseta
Falseta 5: Paco de Lucía falseta
Falseta 6: Paco de Lucía falseta
Falseta 7: A falseta that starts between beats 9 and 10(with the 6-beat llamada), Moraito
Falseta 8: A traditional falseta using Picados , Alzapuas and “rasgueos” . Paco Peña
Falseta 9: A falseta originally used in cante accompaniment, Paco de Lucía
Falseta 10: A falseta that starts on the beat 1, Paco de Lucía
Falseta 11: A very popular falseta, Paco de Lucía
Falseta 12: A modern falseta using arpeggios, Paco de Lucía
Book/DVD 3. Soleá por Bulerías
Study 1: The first 6 beats
Study 2: Beats 6-12
Study 3: Beats 6-12 using arpeggios
Study 4: One complete “compás”
Study 5: Another complete “compás”
Study 6: Another complete “compás”
Study 7: A complete “compás” using arpeggios
Study 8: Another complete “compás” using arpeggios
Study 9: A complete “compás” using double arpeggios
Study 10: Another example using double arpeggios
Study 11: A complete “compás” using “rasgueos”
Study 12: An example with two complete “compás” using arpeggios
Study 13: An example of starting with beat 12
Study 14: Another example of starting beat 12
Study 15: An example with two complete “compás”
Study 16: Another example with two complete “compás”
Study 17: An example using double arpeggios and “ligados”
Study 18: Another example
Study 19: Another example
Study 20: An example with two complete “compás” , the second “compás” being the answer to the first “compás”(question)
Study 21: An example that ends with Alzapua
Study 22: A complete “compás”
Study 23: Another example
Study 24: An example with two complete “compás” using arpeggios
Study 25: A complete “compás” with syncopation
Study 26: Another example with syncopation
Study 27: An example with extensive “ligados”
Study 28: An example with extensive “ligados”
Study 29: An example with two complete “compás” using extensive “ligados” and double arpeggios
Study 30: An example with two complete “compás” using p/i and double arpeggios
Study 31: An example using Alzapua
Study 32: A more complicated example
Falsetas:
Falseta 1: A traditional falseta using “ligados”
Falseta 2: A modern falseta which can be used as an introduction , Gerardo Núñez
Falseta 3: A falseta with syncopation by Mehdi Mohagheghi
Falseta 4: A modern falseta using Alzapua . Enrique de Melchor
Falseta 5: A modern falseta , Tomatito
Falseta 6: A falseta using Alzapua , Oscar Herrero
Falseta 7: A falseta with a complicated rhythm , Mehdi Mohagheghi
Ending :: Ending 1: A rhythmic “compás” to end Solea por Bulerías
€69.00
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