This piano flamenco technique exercise is clearly notated example of the 12 beat compas or rhythm, is set in all 12 keys. A technique training basic and is a must for any pianist learning about Spanish and flamenco music in general. .

M�sica original inspirada en el g�nero de la Escuela Bolera de danza

Eugen Sedko's bulerias falseta, advaced level. The video tutorial is present on youtube (sedkolessons).

New apoyando/picado exercises that I hope it will be interesting to play. Sincerely speaking, I don't like exercises because they are mostly for technique and there is no music. I wanted to create exercises that would be interesting for me, the musical exercises. I am satisfied with this work - now I have more good exercises for myself and I share it with you. Each exercise is made like a cycle. You can practice some important technique elements - left hand transitions that are common in flamenco guitar music, with p/h/glissando. These patterns are also useful as guitar licks for flamenco fusion improvisation. Enjoy!

Digital publication of the piece found in the following print music collection: Piano Playground - 30 Playful Piano Pieces for Lessons and Concerts.

ISBN 9781513455532. 8.75x11.75 inches.

The acclaimed first volume of this exciting series gave extensive insights into basic techniques of flamenco guitar playing and the two important rhythmic forms (palos) of Solea and Alegrias. This second volume continues on with an exploration of further essential rhythmic palos. The first of these is the Bulerias. Juan Martin brings his many years of experience as an internationally renowned flamenco soloist and accompanist for singers and dancers to unravelling its mysteries, explaining and demonstrating very clearly the different elements of its rhythmic structure and the various ways it may be accented and counted. He uses traditional and more modern examples of the different kinds of rhythm and melodic passages (falsetas) to provide an invaluable understanding of this wonderful palo. The second rhythmic form is devoted to the popular flamenco Rumba, then Tangos, Tientos and that most profound of all the palos, the deeply moving Seguiriyas. Juan\'s solo playing is complemented by demonstrations of the guitar\'s role in accompanying the flamenco dance (baile) and song (cante) with the help of outstanding dancers Raquel de Luna and Miguel Infante and singers Amparo Heredia (La Repompilla) and Carlos Brias. The music for solo guitar is transcribed in standard notation and tablature (cifra) and the online video contain nearly three hours of explanation and demonstrations. The series is complemented by two other best-selling Juan Martin volumes published by Mel Bay. These provide progressively graded solo material to extend the repertoire, from beginner to concert level. Includes access to online video.

The combination of musical melancholy and instrumental virtuosity captivates both players and audience alike. 'Flamenco' comes from the Suite espagnole No. 1 by the rather unknown Spanish composer Rogelio Huguet y Tagell. Originally intended as a piano trio, the suite was eventually composed for violoncello solo. This fact certainly explains the numerous double stops and chord structures running through the entire piece, thus giving it a sonorous sound. Entire pizzicato passages are reminiscent of flamenco guitar sounds and lyrically lamenting passages in the middle section emphasize the typical flamenco character.

This is a flamenco guitar arrangement of Malague�a, a pianopiece written by Cuban pianist/composer Ernesto Lecuona. It was originallyadapted for solo Spanish/Flamenco guitar by Carlos Montoya in 1961 and is widely believed to have been originallywritten for the guitar. The fact that Lecuona wrote the piece in thestyle of Spain is likely what makes the Spanish guitar arrangement feel like itbelongs to the instrument. Anotherreason for its association with Spanish guitar is the fact that the main melodyfrom the piece was not Lecuona?s invention but was taken from the ?Malague�a? flamencoform, originating out of M�laga, Spain, in the 19th century. ?Malague�a,? andthe melodic lines associated with it, is one of the traditional styles of Flamenco/Andalusianmusic. This rendition is ?in the style of Sabicas,? a Spanish Gypsy guitaristwho is considered by many to be one of the finest flamenco solo guitarists of his time. Lecuona?sMalague�a is typically found as a solo piano piece in the key of C# Phrygian,whereas on the guitar, (as is the case with this arrangement) it isnormally arranged in E Phrygian.

This is aflamenco guitar arrangement of Malague�a, a piano piece written by Cubanpianist/composer Ernesto Lecuona. It was originally adapted for soloSpanish/Flamenco guitar by Carlos Montoya in 1961 and is widely believed tohave been originally written for the guitar. The fact that Lecuona wrote thepiece in the style of Spain is likely what makes the Spanish guitar arrangementfeel like it belongs to the instrument. Another reason for its association withSpanish guitar is the fact that the main melody from the piece was notLecuona?s invention but was taken from the ?Malague�a? flamenco form,originating out of M�laga, Spain, in the 19th century. ?Malague�a,? and themelodic lines associated with it, is one of the traditional styles ofFlamenco/Andalusian music. This rendition is ?in the style of Sabicas,? aSpanish Gypsy guitarist who is considered by many to be one of the finest flamenco sologuitarists of his time. Lecuona?sMalague�a is typically found as a solo piano piece in the key of C# Phrygian,whereas on the guitar, (as is the case with this arrangement) it is normallyarranged in E Phrygian.

ISBN 9781619115682. 8.5 X 11 inches. This 176-page book/online audio contains six full-length contemporary Flamenco guitar compositions by Ioannis Anastassakis, MA, best-selling Mel Bay author of the Art of Rasgueado and one of the few people to have obtained a Graduate Degree in Flamenco Guitar. Selections include Veridiana (Rumba Flamenca), Angelika (Granadinas), Maestro Serrano (Tangos), as well as 3 more solos based on the Flamenco forms of the Farucca, the Soleares and the Malaguena. Presented in standard notation and tablature, with extensive performance notes for each selection. Video duration 64 min. Access to video online.

A hard-hitting Flamenco guitar arrangement for Fandango de Huelva based on standard traditional themes. The Fandango de Huelva is a relatively fast and rhythmically strict Fandango compared to Fandangos from other regions in Andalusia (Granada, Ronda, M�laga, Almer�a) that are often slower and without a steady rhythm (sans mesure). Rhythmically, Fandango de Huelva consists of a repetition of a six beat phrase, that Flamencos refer to as a comp�s, with accents on the third and fifth beats (1 2 3 4 5 6). This is notated in the score as a repeated sequence of 4/4 and 2/4 measures with the first beat of the comp�s falling on the third beat of the first 4/4 measure. The first accented beat in the comp�s falls on the first beat of the following 2/4 measure and the second accented beat falls on the first beat of the 4/4 measure following. This asymmetrical distribution of accents in the phrase gives the Fandango a kind of choppy almost stop-and-go flow. Note the number of holds that occur in the melodic passages. These are signs of a feature of the Fandango that is used much more in the slower versions where the singer or guitarist can vary the rhythmic flow at will. The melodic passages in the piece are based on traditional songs for Fandango de Huelva, much as Brahms? Hungarian Dances were based on traditional romani melodies from Hungary. The piece ends with a so-called Macho, a finale, in Verdiales, a fast Fandango rhythm from the region of Malaga. The Verdiales runs in standard 3/4 measures.I learned the Fandango de Huelva rhythm in my studies with Juan Gonz�lez ?Triguito? in Madrid in the late 1960?s. I gathered further rhythmic and melodic material working with other Flamenco guitarists and singers, especially in El Mes�n de la Guitarra just off the Plaza Mayor, during my years in Spain.The Fandango de Huelva is a fast and lively style (palo) of Flamenco with lots of good old-fashioned strumming (rasgueados) together with long continuous melodic passages. There is quite a bit of tapping on the face of guitar (golpes) in combination with the strumming and left hand legatos. Some passages are played with the thumb in alzap�a, meaning that the thumb strikes in triplets down, up, and down again in rapid sequence in combination with glopes. The alzap�a and tapping really add to the gitano-andalusian flavour of the piece. The last measures of the finale in abanico (fanning) rasqueado style are a powerful sendoff. Audiences have always enjoyed the positive spirit and energy that the Fandango de Huelva radiates.

I hope you will enjoy this note-for-note transcription of the wonderful Verde Selva by the great Flamenco guitarist, Juan Serrano, from his 1965 RCA Victor recording Popular Music of Spain and the Old World. Verde Selva is a rumba, a rhythmic dance that has its origins in Cuba, becoming a part of the flamenco tradition in the 19th century in Andalusia, Spain. The playing technique used by Serrano in Verde Selva is often referred to as Rumba Melodica due to its use of arpeggiated chords rather than the rhythmic strumming that is typically associated with rumbas. As it is typical for Flamenco guitarists to improvise and change their pieces with subsequent performances, Juan Serrano\'s Verde Selva evolved over the span of his career, resulting in two versions of the piece; the first, featured on the 1965 vinyl LP Popular Music of Spain and the Old World (the basis for this transcription) and the second, in the 1981 Mel Bay publication Juan Serrano - Flamenco Concert Selections, which included Juan Serrano\'s own transcription of his then current version of the piece, along with the recorded track on the included audio CD. Although it is this 1981 version that is performed by guitarists, today, it is my fondness of the 1965 Popular Music of Spain and the Old World recording that inspired me to transcribe this rendition of Serrano\'s Verde Selva, a transcription which had not before been released to the public. Although this transcription is note-for-note to the original recording, liberties were taken only in one regard in that repeats were added in some sections to give more length to this beautiful piece.

If the composition\'s heart has a romantic essence, then it embodies a flamenco soul. The beginning has a happy and vibrant nature, but is followed up by modal flourishes that passionately collide against rasgueados. As the piece progresses, the ideas continue to morph and cascade through different moods and gestures before the main theme is recapitulated.

An arrangement of the Flamenco style (palo) Tientos for solo acoustic guitar. The piece is based on traditional themes for the Tientos that I have expanded and elaborated on to weave together a self-contained composition that lies somewhere between Brahms? Hungarian Dances and Dvorak?s Slavic Dances. The composition is inspired by my studies with Juan Gonz�lez ?Triguito? in Madrid in the late 1960s. The Tientos belongs to the Tango family of Flamenco styles and is a slow majestic Flamenco rhythm that can reach great emotional depth in the hands of skilled guitarists. The Tientos is notated in standard 4/4 measures that although seemly simple can be deceptively complex because of the nearly inexhaustible possibilities for rhythmic variation. Lots of tapping can be found in the notation together with melody and chords, but also alone at rests which I leave in the notation. The tapping is perhaps a vestige of the African origin attributed to the Tango family of Flamenco palos. The arrangement ends with a finale (macho) that moves from the Tientos through a few bars of Tango to a finish in Rumba Gitana, the fastest and liveliest member of the Tango family.The Tientos is played in a Phrygian modal that moves from D minor through C and B-flat to A or A7. This variant of the so-called Andalusian cadence is typical for gitano Flamenco palos.The piece can be played by students of Flamenco guitar at the intermediate to advanced levels and contains many essential elements of serious (jondo) Flamenco guitar playing.

ISBN 9781619119666.

Sardinian flamenco guitar virtuoso, Dario Piga, delivers 18 intermediate to advanced exercises in this progressively arranged book addressing: arpegio, pulgar, picado, rasgueo, alzapua, and tremolo techniques. Dario himself studied in Spain with several prominent guitarists and singers, so is fluent with the authentic rhythms and techniques essential to effective flamenco guitar soloing and song and dance accompaniment. The pulgar (thumb) exercises in this volume will be of particular interest to flamenco aficionados as they explore various rhythms and chord inversions throughout the fretboard. Following his studies in Spain, Dario added jazz harmony to his lexicon of musical resources and frequently participates in the Time in Jazz festival in Sardinia. His affinity for jazz is also reflected in the appealing modern harmonies that occur in these studies. Two stunning Piga flamenco guitar solos provide a magnificent ending to this collection, written in standard notation and tablature. Includes access to online audio.

A Flamenco guitar solo in the Tarantas style. The Tarantas is a free-flowing slow moving Fandango from the region of Almeria which was earlier a principal mining region of Spain. The style is therefore sometimes called Mineras. Tarantas has long been one of my favorite Flamenco pieces for the guitar. It is notated in the key of B minor, based on a so-called ?Andalusian? cadence consisting of the chords B minor - A major (open B and E) - G major (open B and E) - F# major (with open G, B, and E). These dark and indefinite sounding chords allow plenty of room for the guitarist to open up emotionally with the audience.The material for the piece consists mostly of traditional themes that I have woven into a compositional whole along with a few of my own creations (falsetas). Songs for Tarantas are often expressions of loss of a loved-one in some mining tragedy. The long legato passages demand a complete mastery of the technique and should be played as fluidly as possible. The fanning (abanico) rasqueados in the finish of the piece can be new to guitarists coming to Flamenco from classical guitar. Demonstrations of this type of rasqueado can be found at my YouTube sites: https://youtu.be/sB-rDGtXK34 and https://youtu.be/OVBbUZFIj2s. Another type of rasqueado used frequently in the piece is a soft four finger rasqueado (cami) preceded by and followed by a brush up and down over the strings with the thumb (p-camip), accompanied by legatos on the base strings.The piece is accessible for advanced intermediate to advanced guitarists. As the Tarantas is played sens mesure, not demanding any competence of special flamenco rhythms, it is also a flamenco piece readily playable by classical guitarists. Classical guitarists should however be aware that the thumb plays the dominant role even in the more melodic passages.

The The music of Spain came to the new world and returned brimming with new flavors generating the ?Cantes de Ida y Vuelta.?

The Colombiana, unlike inferred by its name, is a jovial flamenco style that incorporates the beauty and flirtatious quality of the Cuban Guajira and the festive air of the rumba. ?Zalamera,? or flatterer, unites these melodic and rhythmical influences.

ISBN 9781513470375. 8.75x11.75 inches.

Intended as a sequel to 20 Flamenco Guitar Etudes, the longer, more developed exercises in 16 Studies for Flamenco Guitar further explore characteristic flamenco guitar techniques including: picado, arpeggio, tremolo, horquilla, the chop, ligado, and the thumb/index alzapua among others. These intermediate-level studies are written in standard notation and guitar tablature with online audio and video included for ease of learning.The pieces are designed and fingered pragmatically to enhance the students overall understanding of flamenco technique and encourage the use of a broader range of studies in daily practice. Left and right-hand digitation is provided throughout, along with occasional circled string numbers which clarify passages intended to be played higher on the fretboard, or on certain strings for a specific musical effect.This book is unique not only for its inclusion of the authors stellar online audio and video recordings, but also for insightful practice tips that vary according to the players years of experience and level of development. If youre thinking WOW! that is the appropriate response; this is flamenco instruction at its best.Includes access to online audio and video.

Danzas espa�olas para piano a 4 manos
Colecci�n de 6 piezas para piano a 4 manos de aire rom�ntico e impregnadas del sabor de la m�sica espa�ola y flamenca. Dificultad media/alta. 15 min. de duraci�n aprox.

Spanish dances for piano 4 Hands
Collection of 6 pieces for four hands piano in a romantic style and impregnated with the flavor of Spanish and flamenco music. Medium/high difficulty. Aprox. 15 min. of duration.

Complete PDF score, 13 pages, including standard notation and the corresponding tab notation, plus precise left hand - right hand original fingering for easy read.
Available also in GuitarPro 5&6 formats. The great advantage of these two formats is that you can listen to the piece played by the sofware dynamically (I painstainkingly added the dynamics myself throughout the whole score), plus other nuances like ligados and slides, to give a better understanding and aire of the whole piece. GP formats include also a 2nd guitar track!
(email me at teodorov[at]gmail.com for a quote).
Enjoy!