cProgressive studies for Flamenco Guitar
by Mehdi Mohagheghi
These five book/DVDs show a series of Soleá, Bulerías, Soleá por Bulerías, Alegrías and Tangos, 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.
Spanish and English
Multiple audio options
Soleá
Bulerías
Soleá por Bulerías
Alegrías
Tangos
Audio guitar+cajón
Audio guitar+metronome
Audio guitar
Audio cajón.
Score Book
(press to see )
Book/DVD CONTENTS
Soleá
Bulerías
Soleá por Bulerías
Basic “LLamadas” Study 1: The first 6 beats
Study 2: Beats 6-12
Study 3: Beats 1-12 ( one complete “compás”)
Study 4: A complete “compás” using triplet rasgueos
Study 5: A complete “compás” using 4-stroke rasgueos
Study 6: A complete “compás” using 5-stroke rasgueos
Study 7: A complete “compás” using Arpegios Remates Study 8: Beats 10-12 ( called Remate) is the ending phrase of each “compás” of solea
Study 9: Another variation of Remate
Study 10: Another variation of Remate using Ligados
Study 11: Another variation of Remate using Ligados
Study 12: Another variation of Remate using Ligados
Study 13: Another variation of Remate Advanced “Llamadas” Study 14: A complete “compás” using a remate for beats 10-12
Study 15: Another complete “compás” using a remate for beats 10-12
Study 16: A complete “compás” using Arpegios and Ligados
Study 17: Another example
Study 18: Another example with a 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 “compás”
Study 25: A complete “compás” using Picado
Study 26: Another example using p/i
Study 27: An example using Rasgueos, with some syncopation
Study 28: A complete “compás” using Alzapua
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 flaseta, also useful for improving the left hand technique
Falseta 3: A modern falseta useful for practicing Arpegios, 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 falseta, Mehdi Mohagheghi
Falseta 13: This falseta can be used to end Solea, Tomatito
Falseta 14: Ending, Mehdi Mohagheghi
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
Study 1: The first 6 beats
Study 2: Beats 6-12
Study 3: Beats 6-12 using arpegios
Study 4: One complete “compás”
Study 5: Another complete “compás”
Study 6: Another complete “compás”
Study 7: A complete “compás” using arpegios
Study 8: Another complete “compás” using arpegios
Study 9: A complete “compás” using double arpegios
Study 10: Another example using double arpegios
Study 11: A complete “compás” using Rasgueos
Study 12: An example with two complete “compás” using arpegios
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 arpegios 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 arpegios
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 arpegios
Study 30: An example with two complete “compás” using p/i and double arpegios
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 Buleria
Alegrías
Tangos
Alegrías in A:
The first 6 beats
Beats 7-12
Beats 1-12(one complete compas)
Beats 1-12(one complete compas using Rasgueos)
Three complete compases
Beats 10-12 called Remate,are the ending phrase of each compas of Alegrias
Another variation of Remate
Another variation of Remate
Another variation of Remate
One complete compas using Remate for beats 10-12
One complete compas using another variation of Remate for beats 10-12
Another complete compas usig Arpegios and Rasgueos
One complete compas using Alzapua
One complete compas with syncopation
Three complete compases using Picados called Cierre (a phrase which leads to Remate)
A complete compas using Syncopation and Alzapua
A traditional Falseta by Sabicas
A Falseta,useful for Arpegios , Picados and Ligados
A Falseta using Syncopation
A complete compas which can be used to the end of Alegrías
Alegrías in C:
Beats 1-6
One complete compas
A complete compas using Arpegios
Beats 10 -12 called Remate
Another variation of Remate
Another variation of Remate
Another variation of Remate
A complete compas using Arpegios and Remate
One complete compas
A variation of a complete compas
An example with three complete compases
A complete compas using a phrase from beat to beat 9
A Falseta for Alegria in C
A famous Flaseta in C
One complete compas suitable for Ending
Alegrías in E:
Beats 1-6
Beats 7-12
One complete compas
One complete compas
An example with three complete compases
Beats 10-12 called Remate , are using for ending of each compas
Another example of Remate
Another variation of Remate
Remate
Remate
An example using a kind of Remate
A complete compas using 5-stroke Rasgueos
An example using syncopation
A complete compas using Arpegios and Ligados
One complete compas using Arpegios
A Falseta using tremolo by Paco Peña
A modern Falseta using more complicated syncopation by Mehdi Mohagheghi
A modern Falseta which has started before beat 1
Alegrías in E Minor:
Beats 10-12 called Remate
Another variation of Remate
Another Remate
A complete compas using Arpegios and Picados
A complete compas using 5-stroke Rasgueos
An example using more complicated Arpegios
A traditional Falseta
A Falseta using tremolo by Paco Peña
A simple phrase with a complete Compas
Another example
Simple phrase using Rasgueos
Another example
Another example
Another example
An example with Ligados
An example with different Ligados in comparison of lesson 7
An example with a different kind of Rasgueso
Another variation
Another variation with a little complicacy
A variation
Two complete Compases
Another example with two complete Compases
Another variation
A variation with syncopation
An example using 4-stroke Rasgueos
An example using Rasgueos and Ligados
An example using Arpegios
Another variation using Alzapua
A variation , efficient for starting or ending of a Tangos
Another variation , efficient for ending of a Tangos
A simple Falseta , (please pay attention about the start beat)
A traditional Falseta , useful for Arpegios and Alzapua
A Falseta by Paco Peaña
An Alzapua phrase which can be used as a Falseta
A modern Falseta by Chicuelo , useful for Picados technique
A Falseta by Moraito using Picados
Another Falseta by Paco Peña using Picados and Pulgar
A famous Falseta using Alzapua by Paco de Lucia
A traditional Falseta using Alzapua
An arpegios Phrase by Paco Cepero which can be used as a Falseta
A Falseta by Paco Peña using picados which can be used as an introduction of a Tango
A chic Falseta using Picados and Alzapua
A Falseta with more complicated Alzapua by Gerardo Nuñez
An Arpegios Flaseta , useful for improve the right hand technique by Moraito
A modern famous Falseta
A Falseta using Picados
