Bulerías – Progressive studies for Flamenco Guitar – Mehdi Mohagheghi

Language: Spanish, English

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 this DVD.

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Content

Phrygian Mode exercises
 1: The first 6 beats – 2: Another variation of the first 6 beats – 3: Another variation of the first 6 beats – 4: A complete “compás” – 5: An example with two complete “compás” –  6: An example of beats 10-11-12 used for joining one “compás” to the next – 7: Another example of beats 10-11-12 used for joining one “compás” to the next – 8: An example of one complete “compás” – 9: An example of one complete “compás” – 10: Another example, ending with Rasgueo – 11: Another example -12: Another example – 13: A complete “compás” using a phrase leading to the note “A” on the beat 10. ( Leading Phrase) – 14: Another example of the ” leading phrase” – 15: Another example of the ” leading phrase” – 16: Another example of the ” leading phrase” – 17: Another example of the ” leading phrase” – 18: Another example of the ” leading phrase” – 19: Another example of the ” leading phrase” – 20: Another example of the ” leading phrase” – 21: An example beginning with beat 1- 22: Llamada ending on the beat 10.(suitable for playing before falsetas beginning on beats 11 or 12 or 1) – 23: Another example of a llamada ending on the beat 10 –  24: Llamada ending on the beat 6.(suitable for playing before falsetas beginning on the beats 9 or 10 or in between) – 25: An example of a rhythmic sentence to change the mode from “A phrygian” to “A minor”

Minor Mode exercises
26: A complete “compás” in “A” minor –  27: Another example – 28: Another example – 29: An example of two complete “compás” – 30: A complete “compás” using a phrase leading to the note “A” on the beat 10. ( Leading Phrase) – 31: Another example of the ” leading phrase”- 32: An example of beats 10-11-12 used for joining one “compás” to the next -33: Another example of beats 10-11-12 used for joining one “compás” to the next

Ending exercises
34: An ending for Buleria in “A Phrygian” – 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