Aprende a Tocar Flamenco-El flamenco ha traspasado nuestras fronteras siendo admirado y respetado por músicos y aficionados de todo el mundo. Este nuevo método de guitarra flamenca creado por David Leiva no es sólo para autodidactas si no también es una novedosa guía para escuelas de flamenco y conservatorios.El libro abarca todos los estilos principales como soleá siguiriya serrana soleá por bulerías alegrías tientos tangos bulerías verdiales rumba taranto farruca guajiras malagueña sevillanas granaína y fandangos. Cada estilo está clasificado por 6 niveles de dificultad con lafinalidad de tener un gran conocimiento de cada palo. Al principio del libro hay una parte teórica y un apartado técnico mostrando todas las técnicas principales de la guitarra flamenca.Al final del libro hay 3 estudios: Uno de arpegios por bulería otro de picado y el tercero un estudio de trémolo. El cd que incluye el método contiene todos los ejercicios para que tengamos una referencia musical. Esta nueva metodología es una de la mejores que ha creado David Leiva muy contemporánea y totalmente complementaria con sus otros métodos de guitarra.

Par GRAF-MARTINEZ GERHARD. Gerhard Graf-Martinez is a passionate flamenco guitarist and teacher. The wealth of his knowledge is captured in this two-volume work, which also reflects valuable experience gained from his activities as a tutor at national and international seminars and workshops. The audio downloads enclosed in volume 1 include all compositions and practice pieces for volume 1 and are not only a pure pleasure to listen to - 'Flamenco puro' - but also convey the authentic sound and the pulsating 'compás' of this music. This is the only way to learn to play the music properly yourself. This is an excellent self-study course that includes many photographs, some to illustrate techniques, others of guitars, guitarists, etc. Self-contained chapters cover all basic techniques plus compás, palmas, nail care, and an overview of current guitarists, guitar makers, construction and sound of Flamenco guitars, etc. All musical examples are in standard notation and tablature (tabs). / Date parution : 2023-06-01/ Méthode / Guitare

Gerhard Graf-Martinez is a passionate flamenco guitarist and teacher. The wealth of his knowledge is captured in this two-volume work which also reflects valuable experience gained from his activities as a tutor at national and international seminars and workshops. The CD included with volume 1 contains all the pieces and musical examples for volumes 1 and 2. Besides being a pure pleasure to listen to - Flamenco puro - it also conveys the authentic sound and the pulsating compás of this music. This is the only way to learn to play the music properly yourself. This is an excellent self-study course that includes many photographs some to illustrate techniques others of guitars guitarists etc. Self-contained chapters cover all basic techniques plus compás palmas nail care and an overview of current guitarists guitar makers construction and sound of Flamenco guitars etc. All musical examples are in standard notation and tablature (tabs) and performed on the accompanying CD. Volume 1: Lesson 1 - 5 Volume 2: Lesson 6 - 10 (English).

With Online Audio-This book will appeal to any guitarist intrigued by the soulful and magical sound of the flamenco Guitar. It presents 10 engaging intermediate to advanced flamenco Guitar solos in traditional forms in standard notation and tabwith performance notes. All selections appear on the book's companion audio download available online. So grab your Guitar and get into flamenco the musical heart of Spain.

The collection ???Combo Flamenco' is a new pedagogical work that includes Flamenco styles for four voices. Flamenco guitarists and musicians in general like flute-players sax players bass players violinists pianists percussionists??? will have ?new material for combo use or for individual practice with the same feeling of playing in a group.

The tutorial of flamenco song and dance and its accompaniment is the first written material that presents all the basic melodic lines for flamenco song as well as the traditional dance structures written in score in two-part form: voice and flamenco guitar (standard notation and tabulature). This first volume collects the families of ???Sole?s??? ???Buler as??? and ???Siguiriyas???.

The tutorial of flamenco song and dance and its accompaniment is the first written material that presents all the basic melodic lines for flamenco song as well as the traditional dance structures written in score in two-part form: voice and flamenco guitar (standard notation and tabulature). The collection of work is divided by families into four volumes: This second volume collects the families of '''Alegr as''' and '''Tientos'''.

The most favourable qualities of shaping a fine artistic personality are combined in Andrés Batista: vocation sensibility technique and the honest and reserved disposition that has marked his excellent self-taught work. His mastery of the flamenco Guitar as a soloist enabled him to analyse the Guitar technique first intuitively and then with a serious musical background and to translate it in two ways: the tablature and the musical notation so that it is useful for Guitar players with a musical background as well as for those purely intuitive who use the tablature.The main goal of the Metodo De Guitarra Flamenca (Flamenco GuitarManual) is to furnish the pupil with the theoretical and practical knowledge of the different styles in flamenco playing through the adequate explanations and exercises. The method has been divided into three parts: Theory Technique and Practice. Pictures and detailed descriptions are included throughout in Spanish English and French.Even though the final aim of this method is to aid and teach Batista suggests that the advice of a competent teacher will help to avoid mistakes and will also stimulate a better understanding progress and study of the instrument.

Par WORMS CLAUDE. Ce recueil est dédié à la mémoire de José Peña, qui fut mon premier professeur. Outre mon initiation à la guitare flamenca, je lui dois quelques principes auxquels j'ai tenté de ne pas déroger : la sobriété, et un certain 'classicisme' qui passe par le respect des formes du répertoire traditionnel (leur rythme et leur harmonie bien sûr, mais aussi leur ethos). Je ne conçois pas la guitare flamenca soliste sans une pratique assidue de l'accompagnement du chant. Je dois le peu que je sais de cet art difficile à Maguy Naïmi et Rouben Haroutunian, qui me confient leurs voix depuis tant d'années. Je dois au maître Javier Hinojosa et à mon frère, Gilles Worms, mon goût pour la guitare baroque. J'ai essayé d'en adapter la technique de 'campanella' à l'esthétique et à l'harmonie flamencas. Enfin, les amateurs attentifs reconnaîtront ça ou là quelques brèves citations de Perico el del Lunar, Juan et Pepe Habichuela, Paco et Miguel Angel Cortés, Victor Monge 'Serranito', Manolo Franco, Rafael Riqueni, et, plus généralement, des réminiscences des styles de deux compositeurs que j'affectionne particulièrement, José Luis Monton et Oscar Herrero. Le CD est enregistré sur une guitare de Miguel Rodríguez, qui a appartenu à José Peña, et qui m'a été offerte par son épouse, María Josefa Campos de Peña, et leurs enfants, Sonia, Clara et Alexandre. Cet honneur ne va pas sans quelque devoir. J'espère ne pas avoir trop démérité. Claude Worms Este libro se lo dedico al que fue mi primer Maestro, José Peña. Además de iniciarme en el toque flamenco, José Peña me inculcó unos principios a los que he intentado no derogar : la sobriedad y cierto clasisismo basado en el respeto de las formas del repertorio tradicional (su compás y su armonía por supuesto, pero también su ethos). No concibo el toque flamenco solista sin la práctica constante del acompañamiento del cante. A Maguy Naïmi y a Rouben Haroutunian les debo los pocos conocimientos que tengo en esta práctica tan difícil puesto que llevo muchos años acompañándoles. Al Maestro Javier Hinojosa y a mi hermano Gilles Worms les debo mi afición a la guitarra barroca y he intentado adaptar a la estética y la armonía flamencas su técnica de 'campanella'. Los aficionados reconocerán algunas alusiones en mis composiciones, al toque de Perico el del Lunar, Juan y Pepe Habichuela, Paco y Miguel Ángel Cortés, Victor Monge 'Serranito', Manolo Franco, Rafael Riqueni... y de manera más general reminiscencias de los estilos de dos compositores a los que soy particularmente aficionado, José Luis Montón y Oscar Herrero. El CD lo grabé en una guitarra de Miguel Rodríguez que perteneció a José Peña y que me fue regalada por su viuda María Josefa Campos de Peña y sus hijos Sonia, Clara y Alexandre Peña. Fue para mí un honor tocar en ella y espero haber estado a la altura de las circunstancias. Claude Worms / Niveau : Fin Du 2ème Cycle / classique / Tablatures / Guitare Tablatures Flamenca

Carlos Surinach's Flamenco Meditations for Voice and Piano.On five 'Sonnets from the Portuguese' by Elizabeth Barrett BrowningDedicated to Hilde Wittgenstein.'The heritageof flamenco is one of Spain's richest treasures. From its Berber-Sephardim roots this pure form of music has made itself a unique place in the history of the humanities and the arts. Its joys and sorrows are of an intricatenature: at once introvert and extrovert they are conveyed through dramatic rhythms and singular contrasts. I write freely in this idiom.In this song cycle I have combined drama with sheer primitivism to celebratelove and death. The five Sonnets from the Portuguese by Elizabeth Barrett Browning were the ideal lyric inspiration. This is great poetry and strangely enough it is close to what would have been said in Spanish had the songsemanated from ethnic impulses.' - Carlos Surinach