September 2007, 193 pages - ISMN M-801224-27-2
English / Spanish
"Yerbagüena (Oriente)" (rumba) This piece is a duo of the guitars by Pepe Habichuela who plays with the capo on II in D major with the sixth string tuned down to D, accompanied by Josemi Carmona playing in E without the capo. The singing verse has been transcribed in its entirety for the second guitar or any other instrument, depending on the wishes of the musicians involved.
"Bangalore Krishna" (bulería). This is a dialogue between the guitars by Pepe and Josemi and the Bollywood Strings. Pepe plays por arriba (Mi Hijaz) with no capo, and Josemi, por granaína (B Hijaz), with the capo on V. In addition to both guitars, the most important parts played by the Indian musicians, as well as scat improv have been transcribed for the second guitar, which, conveniently enough, doesn't play during the parts in question.
"A mi chaché Miguel" (soleá). This magnificent guitar solo is another demonstration of the depth and beauty Pepe Habichuela is capable of reaching in the soleá, the king of flamenco forms. Irreplaceable for any guitarist.
"Se la llevó Dios" (malagueña de Cádiz). This is an encounter between two authentic maestros of flamenco: singer Enrique Morente and guitarist Pepe Habichuela. Both the guitar and the singing have been transcribed completely, to the last embellishment. A must for any student of flamenco accompaniment. The synchronicity between the two artists as well as the purity and quality of their interpretation is truly amazing.
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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