While a classical guitarist supports the guitar on the left leg, and holds it at an incline, flamenco guitarists usually cross their legs and support the guitar on whichever leg is on top, placing the neck of the guitar nearly parallel to the floor. I found listening to the various samples useful. The various flamenco guitar styles can certainly coexist. This isn’t to say that every contemporary guitarist has to sound like Paco. In contrast to the classical guitar, the flamenco is often equipped with a tap plate (a golpeador), commonly made of plastic, similar to a pickguard, whose function is to protect the body of the guitar from the rhythmic finger taps, or golpes. Knowing where it all came from can only make you a better player, whatever style you choose to play. My soul Players use different posture, strumming patterns, and techniques. After all, they inspired Paco and his generation, who in turn inspired the current crop of players. Very little traditional Flamenco music is written, but is mostly passed on hand to hand. 152. Thanks for this post. Volume has traditionally been very important for flamenco guitarists, as they must be heard over the sound of the dancers’ nailed shoes. I believe that whichever style you prefer, traditional flamenco or modern flamenco, there’s an awful lot to be learned by studying the ‘traditional’ masters. Designed by Elegant Themes | Powered by WordPress. Even swung notes are commonly mixed with straight notes, and golpes are employed with the compas of different types of rhythms (i.e. And microphones. The change had been coming for almost Paco’s entire career, but for me (and this is purely subjective) the defining moment was the 1987 album Siroco. However, the main purpose in using a cejilla is to change the key of the guitar to match the singer's vocal range. I don’t mean swing in the jazz sense. This creates a chugging like sound that greatly accents the rhythm, allowing the singer or dancer to play off the beat, creating a strong contra-tempo feel. And that new direction is basically what separates what we usually call traditional flamenco from the more modern stuff. Ver 1. As he got into the 70’s everything got way more modern in terms of the harmonies he used and the groove. Your email address will not be published. Also politics. A flamenco guitar is a guitar similar to a classical guitar but with thinner tops and less internal bracing. This site uses Akismet to reduce spam. Builders also use less internal bracing to keep the top more percussively resonant. Nevertheless, other types of wood may be used for the back and sides, like rosewood, maple, koa, satinwood and caviuna. The different position accommodates the different playing techniques. Flamenco guitars are generally made with spruce tops and cypress or sycamore for the backs and sides to enhance volume and emphasize the attack of the note. ultimate guitar com. These were the guitarists who established the flamenco guitar as a concert instrument in the first place. I’ve always felt that Siroco was a turning point, though maybe that was just for me. These can in some cases be substituted with barre chords and the G/E chord can be replaced by a regular open G. The Spanish (or Andalusian) cadence include four chords and is often played in A or D minor. Traditionally, luthiers made guitars to sell at a wide ranges of prices, largely based on the materials used and the amount of decorations, to cater to the popularity of the instrument across all classes of people in Spain. During the early seventeenth century the guitar was an instrument of the people of Spain, but was widely played by the Italian aristocracy." Flamenco uses many highly modified and open chord forms to create a solid drone effect and leave at least one finger free to add melodic notes and movement. Paddington Press Ltd 1977 p.24, José L. Romanillos "Antonio De Torres: Guitar Maker-His Life and Work" (1987, 1997), Picados are the flamenco scales of a guitar, or a guitar playing technique where the musician plays scale passages by alternating the index and middle fingers. Both accompaniment and solo flamenco guitar are based as much on modal as tonal harmonies; most often, both are combined. What Juan meant when he told me my playing wasn’t really flamenco any more was mainly that it didn’t swing. It speaks to me. Flamenco is played somewhat differently from classical guitar. Whatever speaks to you speaks to you! I also believe that virtuoso players should play what speaks to them now. Jerez has arguably been the home to a more traditional style even throughout the modern period, and if you listen to Moraito you can hear a bit of both the older styles and the more modern swing. Playing solo flamenco guitar was one of the least traditional things one could have done at the time. Rather than transcribe to another key each time the singer changes, the player can move the capo and use the same chord positions. Glisando: While holding a finger down on a note at one fret, sliding the finger up the frets of that string to glide the finger through a series of notes up or down (lower to higher or higher to lower); occasionally also used in flamenco. It generally possesses a livelier, more gritty sound compared to the classical guitar. as is strumming with the strings damped for long passages or single notes. If you listen to Paco’s earliest recording he sounds like an even more virtuosic version of the players he had come up with – Sabicas and Niño Ricardo. Unlike classical tirando, where the strings are pulled parallel to the soundboard, in flamenco apoyando strings are struck towards the soundboard in such way that the striking finger is caught and supported by the next string, hence the name apoyando (from Spanish apoyar meaning "to support"). In any great player you’ll find musical acknowledgment of the music that came before, whether it’s in the form of an homage or as an influence that might go unheard. I was there to learn, so I just said “Ok”, but I wasn’t quite sure yet what he meant. bulerias, soleas, etc.) This is desirable, since the flurry of notes that a good flamenco player can produce might sound muddy on a guitar with a big, lush, sustaining sound. It is an art form that originated in the Andalusia region of Spain, and incorporates music and dancing. More Versions. Cheers, Classical guitars are generally made with spruce or cedar tops and rosewood or mahogany backs and sides to enhance sustain. resonates to the old style flamenco, whether Jerez or Moron. I thought I had a pretty good idea what I was doing. The flamenco guitar's sound is often described as percussive; it tends to be brighter, drier and more austere than a classical guitar. I must have realized that there was a huge difference between what they were playing and what Sabicas was playing (and I was trying to play). "Flamenco negra" guitars are called "negra" after the darkness of the harder woods used in their construction, similar materials to those of high-end classical guitars, such as rosewood or other dense tone woods. To increase volume, harder woods, such as rosewood, can be used for the back and sides, with softer woods for the top. If you are not familiar with the flamenco dance, there are a lot of shoe … Kai, Your email address will not be published. More broadly, in terms of general style and ability, one speaks of: "We know from literary sources that the five course guitar was immensely popular in Spain in the early seventeenth century and was also widely played in France and Italy...Yet almost all the surviving guitars were built in Italy...This apparent disparity between the documentary and instrumental evidence can be explained by the fact that, in general, only the more expensively made guitars have been kept as collectors' pieces. The various styles can certainly coexist. Required fields are marked *. Montoya happened to work with Antonio Chacón, the most important singer of the time, so they were like the Paco and Camarón of that era. The traditional flamenco guitar is made of Spanish cypress, sycamore, or rosewood for the back and sides, and spruce for the top. Players use different posture, strumming patterns, and techniques. What I really mean is that Paco had changed the way flamenco grooves, and there wasn’t really any going back. Antonio de Torres, one of the most renowned luthiers, did not differentiate between flamenco and classical guitars. The top is typically made of either spruce or cedar, though other tone woods are used today. And dogs. At times, this style of playing causes the vibrating string to gently touch the frets along its length, causing a more percussive sound.[3]. For others, it’s been a natural evolution of an ever-adapting art form. Many of the tremolo, golpe, and rasgueado techniques are easier and more relaxed if the upper right arm is supported at the elbow by the body of the guitar rather than by the forearm as in classical guitar.