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