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    Bulerías. Progressive studies for Flamenco Guitar by Mehdi Mohagheghi

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    Bulerías. Progressive studies for Flamenco Guitar by Mehdi Mohagheghi Ref.: 50489DVD-EPBUL
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    Bulerías pregressive studies.

    Series of 51 Bulerías studies for flamenco guitar, suitable for all levels. Measures and falsetas (variations) are gradually studied, reaching the right level to play falsetas of the artist like Paco de Lucía, Moraito, Manuel Granados... Once you dominate all the studies, you will be able to play your own pieces mixing different falsetas studied in this Dvd.

     

    Book/DVD CONTENTS:

    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: A complete “compás”

    Study 5: An example with two complete “compás”

    Study 6: An example of beats 10-11-12 used for joining one “compás” to the next

    Study 7: Another example of beats 10-11-12 used for joining one “compás” to the next

    Study 8: An example of one complete “compás”

    Study 9: An example of one complete “compás”

    Study 10: Another example, ending with Rasgueo

    Study 11: Another example

    Study 12: Another example

    Study 13: A complete “compás” using a phrase leading to the note "A" on the beat 10. ( Leading Phrase)

    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 llamada 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: 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 arpegios, Paco de Lucía

     

    Falsetas in A Minor:

    Falseta 13: A falseta using the thumb, Mehdi Mohagheghi

    Falseta 14: A traditional falseta using Picados, Paco Peña

    Falseta 15: A modern falseta using the thumb, Rafael Cortés

    Falseta 16: A very popular falseta using picados, Paco de Lucia

     

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