Didactic DVD & Video

    Progressive studies for Flamenco Guitar by Mehdi Mohagheghi. Pack 5(Book/DVD) - Mehdi Mohagheghi. Soleá, Bulerías, Soleá por Bulerías , Alegrías y Tangos.

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    Progressive studies for Flamenco Guitar by Mehdi Mohagheghi. Pack 5(Book/DVD) - Mehdi Mohagheghi. Soleá, Bulerías, Soleá por Bulerías , Alegrías y Tangos. Ref.: 50489DVD-EPPACK-5
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    This serie Book/DCD made by Mehdi Mohagheghi, shows a collection of studies of Solea, Bulerias, Solea for Bulerias, Alegrias and Tangos for the flamenco guitar suitable for all levels . In a gradual way, we study Compas, “llamadas”, and “fasletas”, in order to interpret falsetas of great level of acclaimed guitarists. Once you’ll control all the studies, the guitarist/ student will be able to play his own themes mixed with different falsetas and llamadas. 2 languages: Spanish, English DVD compatibles for all countries in the world (PAL and NTSC) Contents by book/DVD Solea basis of Llamadas:   Study 1: The first 6 times Study 2: Times 6-12 Study 3: Times 1-12 (complete compás) Study 4: complete Compás of “rasgueo tresillo” Study 5: complete Compás of “rasgueo” semiquaver Study 6: complete Compás of “rasgueo cinquillo” Study 7: Complete Compás using arpeggio “Remates” Study 8: Times 10-12, called “Remate”, is the final part of each compas of Solea Study 9: Remate Variant Study 10: Remate Variant using legatos Study 11: Remate Variant using legatos Study 12: Remate Variant using legatos Study 13: Remate variant using “Llamadas” advanced Study 14: Complete Compás with “remate” in the times 10-12 Study 15: Complete Compás with “remate” in the times 10-12 Study 16: Complete Compás using arpeggio and ligato Study 17: Other example Study 18: Other example with new remate Study 19: Other example Study 20: Other example Study 21: Other example with con a pattern more complicated for the times 7-9 Study 22: Other example Study 23: Other example Study 24: Example with two complete compas Study 25: Complete Compás using “Picado” Study 26: Example using p / i Study 27: Example of “rasgueos”, with syncopation Study 28: Complete Compás using Alzapúa Study 29: Example using Alzapúa more complicated Study: Falseta 1: Falseta which can be used as an introduction, Paco Serrano Study 2: Tradicional Falseta, it is useful as well to improve the tecnic of the left hand  Study 3: Modern Falseta useful for the practice of arpegios, Vicente Amigo Falseta 4: Tradicional Falseta with arpeggios / Picado Falseta 5: Tradicional Falseta  Falseta 6: Falseta which can be used as introduction, Paco Peña Falseta 7: Trémolo falseta, Paco Peña Falseta 8: Falseta moderna, Tomatito Falseta 9: Modern Falseta, Paco de Lucia Falseta 10: Modern Falseta, Mehdi Mohagheghi Flaseta 11: arpegio Falseta, Moraito Falseta 12: Modern Falseta, Mehdi Mohagheghi Falseta 13: Falseta which can be used for end of Solea, Tomatito Falseta 14: Closure, Mehdi Mohagheghi Bulerías  “Frigio” mode Study 1: The first 6 times Study 2: Other variant of the first 6 times Study 3: Other variant of the first 6 times Study 4: Complete Compás Study 5: Example  with two complete   Study 6: Example of the times 10-11-12 using to join to the next compas Study 7: Example of times 10-11-12 used to join to the next compas Study 8: Example of one complete compass Study 9: Another example Study 10: Another example, which ende up with Rasgueo Study 11: Another example Study 12: Another example Study 13: Complete Compás using "LA" in the time 10 Study 14: Example “fraseo” Study 15: Example fraseo Study 16: Example fraseo Study 17: Example fraseo Study 18: Example fraseo Study 19: Example fraseo Study 20: Example fraseo Study 21: Example comenzando en el tiempo 1 Study 22: Llamada which ends in the time 10 (suitable for before falsetas which starts in the time 11 or 12 or 1) Study 23: Example of one of the “llamada” which ends in the time 10 Study 24: Llamada which ends up in the time 6. (A suitable for before falsetas which starts in the time 9 or 10 o between the 9 and 10) Study 25: Example to change the mode from the "LA frigio" to the "LA menor" Minor mode Study 26: Complete Compás in "LA" minor Study 27: Another example Study 28: Another example Study 29: Example of two complete compas   Study 30: Complete Compás using “fraseo in LA" in the time 10 Study 31: Example of the “fraseo” Study 32: Example of the times 10-11-12 using to join the next compás  Study 33: Example of the times 10-11-12 using to join the next compas Closing Study 34: Closing for Bulería in "LA frigio" Study 35: Closing for Bulería in "LA menor" Falsetas in “frigio” mode: Falseta 1: Falseta which can be used as introduction, Gerardo Núñez Falseta 2: Falseta which can be used as introduction, Paco Cepero Falseta 3: Traditional Falseta with the thumb, Manuel Granados Falseta 4: Falseta Paco Peña Falseta 5: Falseta de Paco de Lucía Falseta 6: Falseta de Paco de Lucía Falseta 7: Falseta which starts between the times 9 and 10 (with “llamada” in the time 6), Moraito Falseta 8: Falseta with “Picados”, alzapúas and rasgueos, Paco Peña Falseta 9: Falseta used in the accompaniment of the sing, Paco de Lucía Falseta 10: Falseta which starts in the time 1 , Paco de Lucía Falseta 11: very famous Falseta of Paco de Lucía Falseta 12: Falseta utilizando arpegios, Paco de Lucía Falsetas in LA minor: Falseta 13: Falseta with thumb, Mehdi Mohagheghi Falseta 14: Falseta with Picados, Paco Peña Falseta 15: Modern Falseta with thumb , Rafael Cortés Falseta 16: Falseta using picados, Paco de Lucía Study 1: The first 6 times Study 2: Times 6-12 Study 3: Times 6-12 using arpeggios Study 4: Complete Compás  Study 5: Complete Compás  Study 6: Complete Compás  Study 7: Complete Compás using arpeggios Study 8: Complete Compás using arpeggios Study 9: Complete Compás  using doble arpeggios  Study 10: Example of use of doble arpeggios Study 11: Complete Compás using “rasgueos” Study 12: Example with two complete compas using arpeggios Study 13: Example of beginning in the time 12 Study 14: Example of beginning in the time 12 Study 15: Example with two complete compas Study 16: Example with two complete compas Study 17: Example of “arpeggios ligados” Study 18: Other example Study 19: Other example Study 20: Example of two complete compases, the second one is the answer to the first compas (question) Study 21: Example which ende up with Alzapúa Study 22: Complete Compás Study 23: Other example Study 24: Example with two complete compas using arpeggios Study 25: Complete Compás with syncopation Study 26: Other example, with syncopation   Study 27: Example with legato Study 28 : Example with legato Study 29: Example with two complete compas using legato and doble arpeggios  Study 30: Example with two complete compas using p /i y doble arpegios Study 31: Example of use of Alzapúa Study 32: Example more complicated Falsetas: Falseta 1: Tradicional Falseta with legatos Falseta 2: Modern Falseta which can be used as an introduction, Gerardo Núñez Falseta 3: Falseta with syncopation, Mehdi Mohagheghi Falseta 4: Modern Falseta, using Alzapúa. Enrique de Melchor Falseta 5: Modern Falseta, Tomatito Falseta 6: Falseta using  Alzapúa, Oscar Herrero Falseta 7: Falseta with a rythm more complicated, Mehdi Mohagheghi Closing : Closing 1: A compas to finalize "Soleá for Bulerías"   Study 1: The first 6 times Study 2: Times 6-12 Study 3: Times 6-12 using arpeggios Study 4: Complete Compás Study 5: Complete Compás Study 6: Complete Compás Study 7: Complete Compás using arpeggios Study 8: Complete Compás using arpeggios Study 9: Complete Compás using doble arpeggios Study 10: Example of use of doble arpeggios Study 11: Complete Compás using “rasgueos” Study 12: Example with two complete compas using arpeggios Study 13: Example of beginning in the time 12 Study 14: Example of beginning in the time 12 Study 15: Example with two complete compas Study 16: Example with two complete compas Study 17: Example of arpeggios legatos Study 18:  Other example Study 19: Other example Study 20: Example with two complete compas, the second compas is an answer to the first compas (question) Study 21: Example which ende up with Alzapúa Study 22: Complete Compás Study 23: Other example Study 24: Example with two complete compas using arpeggios Study 25: Complete Compás with syncopation Study 26: Other example with syncopation Study 27: Example with legatos   Study 28 : Example with legatos Study 29: Example with two complete compas using legatos and doble arpeggios Study 30: Example with two complete compas using p /i  and doble arpeggios   Study 31: Example of use of Alzapúa Study 32: Example more complicated Falsetas: Falseta 1: Traditional Falseta with legatos Falseta 2: Modern Falseta which can be used as an introduction, Gerardo Núñez Falseta 3: Falseta with syncopation, Mehdi Mohagheghi Falseta 4: Modern Falseta, using Alzapúa. Enrique de Melchor Falseta 5: Modern Falseta, Tomatito Falseta 6: Falseta using Alzapúa, Oscar Herrero Falseta 7: Falseta with a rythm more complicated, Mehdi Mohagheghi Closing : Closinge 1: A compas to finís "Soleá for Bulerías.
    Alegrias 
    Alegrías in  LA 
    The 6 first times
    Times 7-12
    Times 1-12 (complete compas) 
    Times 1-12 (complete compas with Rasgueos) 
    Three complete compas 
    Times 10-12 called Remate 
    Other variation of  Remate 
    Other variation of Remate 
    Other variation of Remate 
    Complete Compas with Remate in the times 10-12 
    Other variation of complete compas with Remate in the times 10-12 
    Complete Compás with Arpeggios and Rasgueos 
    Complete Compas  with  Alzapúa
    Complete Compas  with syncopation
    Three compas with Picados called Closing 
    Compas with Syncopation and Alzapúa 
    Traditional Falseta of Sabicas 
    Falseta with Arpegios , Picados and legatos 
    Falseta with syncopation Compas which can be used to finís Alegrías

    Alegrías en DO 
    Tiempos 1-6 
    Complete Compas 
    Complete Compas  with Arpeggios 
    Times 10 -12 called Remate 
    Other variation of Remate
    Other variation of Remate
    Other variation of Remate
    Compas with Arpeggios and Remate 
    Complete Compas 
    Other example of complete compas 
    Example with three compases
    Compas with fraseo 
    Falseta for Alegrías in  DO 
    Famous Falseta of Alegría in DO 
    Complete compas of ending

    Alegrías in MI: 
    Times 1-6 
    Times 7-12 
    Complete Compas 
    Complete Compas 
    Example with three complete compas
    Remate: times 10-12 
    Other example of Remate 
    Other example of Remate 
    Remate
    Remate 
    Other example of Remate 
    Complete compas of “Rasgueos cinquillo”
    Example with syncopation  
    Complete Compás with Arpegigos and legatos
    Complete Compás with Arpegigos
    Falseta using tremolo de Paco Peña 
    Falseta with syncopation of Mehdi Mohagheghi Modern Falseta starting before the time 1 
    Complete compass to use in the closing

    Alegrías in MI minor: 
    Remate: times 10-12 
    Other variation of Remate 
    Remate 
    Complete compas with Arpeggios and Picados
    Complete compas with Rasgueo cinquillo 
    Example with Arpeggios more complicated
    Tradictional Falseta
    Falseta with Trémolo of Paco Peña
    Falseta , useful to exercise both hands with Arpeggios-Picados of Paco Peña.
    Tangos
    Complete Compás
    Other example.
    ”Fraseo” using Rasgueos.
    Other example.
    Other example..
    Other example..
    Example with legatos.
    Other example with different legatos from the ones of the exercise 7.
    Example with different kind of Rasgueo.
    Other variation.
    Other variation more complicated.
    Variation.
    Two complete compases.
    Other example with two complete compas.
    Other variation.
    Variation with syncopation.
    Example of rasgueo semiquaver.
    Ejxample of Rasgueos and legatos.
    Example with Arpeggios.
    Variation with Alzapúa.
    Variation to start and finish Tangos.
    Variation to start and finish Tangos.. 
    Simple Falseta , (pay attention to the first time).
    Traditional Falseta, useful for Arpeggios and Alzapúa.
    Falseta of Paco Peaña.
    Frase of Alzapúa which can be used as falseta.
    Modern Falseta of Chicuelo , useful for the Picados technic.
    Falseta with Picados of Moraito.
    Falseta of Paco Peña with Picados and thumb.
    Famous Falseta of Paco de Lucia with Alzapúa.
    Traditional Falseta with Alzapúa.
    Frase with arpeggios of Paco Cepero which can be used as Falseta.
    Falseta of Paco Peña with picados, can be used as introduction for Tangos.
    Falseta with  Picados and Alzapúa.
    Falseta more complicated with Alzapúa of Gerardo Nuñez.
    Falseta with Arpeggios of Moraito, useful to improve the technic of the right hand.
    Modern famous Famosa.
    Falseta with Picados.      

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