December 2006, 169 Pages - ISMN M-801224-25-5
English / Spanish
"Puente, río, Macarena, Triana", an impressively eclectic sevillanas whose style, both in the orchestral arrangement and in the arrangement of the two guitars, calls to mind the style of the great Spanish composer Manuel de Falla. It includes a jazz-like improvisational part in which the piano accompaniment has been transcribed for the second guitar. This piece is a magnificent duet for two flamenco guitars. The "Commentaries" chapter provides an explanation of the structure of sevillanas . The "Analysis" section explains the improvised part, and suggests some scales that can be used during the improvisation. The concept of swing is also explained.
"Benamargosa". This fantasy is a magnificent mixture of Spanish impressionism and flamenco. The flamenco part is written to the compás por siguiriya and is explained in the "Analysis" chapter, along with a discussion of the rhythm of this palo and the way to write it according to Stravinsky's system. Enrique Vargas was the first person to write the siguiriya according to this more logical and concise system.
"Rebelde," bulerías . This piece is a brilliant solo for flamenco guitar. The "Commentary and suggestions" section provides an extensive study of the evolution of the bulerías rhythm through the twentieth century, various rhythmic patterns for this palo , ways of writing it, and foot-tapping and palmas .
Transcription of each piece in notation and tab with complete both hands fingerings
History of the form
Flamenco modes, chords and tonalities
Compás, palmas and foot marking, which is essential for understanding of flamenco rhythms and, nevertheless, is never spoken about in flamenco manuals.
Analysis of the most difficult falsetas with explanations and advice as to technical execution.
List of generic rasgueados.
Glossary of flamenco terminology
The symbols used in flamenco writing.
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