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Soleá Progressive studies.
Series of 44 Soleá studies for flamenco guitar, suitable for all levels. Measures and falsetas (variations) are gradually studied, reaching the right level to play falsetas of the artists like Vicente Amigo, Tomatito, Moraito,... 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:
Soleá.
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
Soleá Progressive studies.
Series of 44 Soleá studies for flamenco guitar, suitable for all levels. Measures and falsetas (variations) are gradually studied, reaching the right level to play falsetas of the artists like Vicente Amigo, Tomatito, Moraito,... 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:
Soleá.
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