Complete PDF score, 6 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. Cigala's voicing available as well on a second track in the GP formats !
(email me at teodorov[at]gmail.com for a quote).
Enjoy this little musical jewel ! .

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.

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.

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.

An arrangement of traditional themes for the Flamenco style Siguiriyas for solo Flamenco guitar based on material I gathered in my studies in Flamenco guitar in Madrid in the late 1960s. I call the piece Llamas Negras (Black Flames) as the dance for Siguiriyas is often performed by a woman dancer (bailaora) dressed in a long flowing black dress, her hands twirling above her head likes flames. Such were the performances I witnessed at the Flamenco tablao La Zambra where my guitar maestro Juan Gonz�lez ?Triguito? played. Siguiriyas is the most tragic of all the serious (jondo) styles of Flamenco for guitar. The piece moves therefore at a moderately slow pace, although there are passages where the tempo increases for dramatic effect. The piece is in the Phrygian modal of D minor and notated in standard 6/8 time. Siguiriyas embodies par excellence what Manuel de Falla called the ?sonidos negros? or black sounds in Flamenco!

Los ?12 estudios flamencos para piano? son una s�ntesis entre el pianismo virtuoso rom�ntico y las sonoridades y armon�as flamencas y espa�olas. Su objetivo va m�s all� de las aproximaciones basadas en copiar los estereotipos propios de la guitarra flamenca y sus patrones t�picos, pues musicalmente no se trata ni de flamenco puro, ni de simples estudios t�cnicos de mecanismo: se trata m�s bien hablar a trav�s del lenguaje flamenco y espa�ol para dar libertad a las dificultades t�picas del piano: octavas, arpegios, notas dobles, escalas, acordes y figuraciones varias, pretendiendo crear un lenguaje propio, natural, adaptado al piano y a sus posibilidades. Se pueden considerar pues, 12 estudios de concierto, cada uno con su propia personalidad, su sonoridad particular y su car�cter diferenciado.

The ?12 flamenco studies for piano? are a synthesis between romantic virtuoso pianism and flamenco and Spanish sounds and harmonies. Its objective goes beyond the approaches based on copying the stereotypes typical of flamenco guitar and its typical patterns, since musically it is not about pure flamenco, nor about simple technical studies of mechanism: it is rather about speaking through language. flamenco and Spanish to give freedom to the typical difficulties of the piano: octaves, arpeggios, double notes, scales, chords and various figurations, trying to create their own, natural language, adapted to the piano and its possibilities. Thus, 12 concert studios can be considered, each one with its own personality, its particular sound and its distinctive character.

Este segundo libro de estudios flamencos para piano sigue la estela del primer volumen, siendo una s�ntesis entre el pianismo virtuoso rom�ntico y las sonoridades y armon�as flamencas y espa�olas, "hablando" a trav�s del lenguaje flamenco y espa�ol para dar libertad a las dificultades t�picas del piano: octavas, arpegios, etc., pretendiendo crear un lenguaje propio, natural, adaptado al piano y a sus posibilidades. Se pueden considerar pues, 12 estudios de concierto, cada uno con su propia personalidad, su sonoridad particular y su car�cter diferenciado.
Nivel de dificultad alto.
40 min. aprox.


This second book of flamenco studies for piano follows the wake of the first volume, being a synthesis between romantic virtuoso pianism and flamenco and Spanish sounds and harmonies, "speaking" through the flamenco and Spanish language to give freedom to the typical difficulties of the piano: octaves, arpeggios, etc., trying to create its own natural language, adapted to the piano and its possibilities. Thus, 12 concert studios can be considered, each with its own personality, its particular sound and its differentiated character.High difficulty level.40 min. approx.

The Castle is a flamenco rumba song, written for solo Spanish guitar. It has a bit of medieval vibe, catchy melodies and rumba rhythm between the lines. The guitar techniques required to play this song: rumba technique, alzapua, flamenco triplet, pulgar, and picado.

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.

ISBN 9781513459240. 8.75x11.75 inches.

Classic and flamenco guitarists alike will benefit from these etudes as they bridge the gap between traditional mechanical studies and engaging practice and concert material. Although relatively short in duration, a few of these etudes could be combined in a medley to form an effective suite or set. In addition, fourteen of the twenty etudes are provided with chord accompaniment for harmonic analysis, improvisation, or performance with a teacher or second guitarist.The companion online audio for this book has been masterfully recorded by the author using a flamenco guitar to authentically render the typical picado, double-arpeggio, arpeggio-legato, and horquilla techniques as well as the quintuplet flamenco tremolo. Traditional classical elements like octave, interval and arpeggio studies are also thoroughly explored, with one piece in dropped-D tuningall with a flamenco flavor.In addition to accomplishing its mission of offering a fresh regimen of appealing practice etudes, the truly unique feature of this book is that everything from basic technique to exotic harmony and modal scales has been aflamencado or flamenco-ized. Towards that end, a comprehensive glossary of mostly flamenco terminology is provided along with standard notation and tablature for each piece. As a bonus for those new to the flamenco genre, or for the serious aficionado or audiophile, a generous Recommended Listening list is included. Practice-related quotations from prominent guitarists in various styles complete this exceptional collection.Includes access to online audio.

ISBN 9781619114456. First Lessons Flamenco Guitar introduces the absolute basics of flamenco guitar. The book covers the fundamentals of reading music, including note and rest values, reading guitar tablature, finger names for the left and right hands, the names of guitar parts, and basic flamenco techniques and rhythms. This book and accompanying audio are meant for beginners who would like to familiarize themselves with the world of flamenco. Each lesson is accompanied by an audio track so students can hear what they are learning. Some online audio examples include different tempos for the same technique. First Lessonsr Flamenco Guitar will provide the base from which students can advance in their flamenco studies.

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.

Classical and Flamenco Guitar Solos and Etudes provides an introduction to classical and flamenco guitar techniques through 22 pieces. These short, melodic studies will increase your understanding of chord/harmonic shapes, and encompass a variety of styles: vals, classical etudes, malaguena, solea, rumba, farruca, and bulerias. The five main techniques in classical and flamenco guitar are: pulgar (thumb rest stroke), arpeggio, picado (index and middle alternating strokes), rasgueo (strumming), and tremolo (flamenco) a which are applied throughout this book. Includes access to online audio and video.

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 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.

As an accompaniment in the home of people's lives during the 50's onwards, music between the stoves was a common activity and made the task of cooking more enjoyable, adding culinary art to the musical art. Even in the flamenco melodies, some secret recipes or ingredients were noted, perhaps to perpetuate the tradition and passing between generations of culinary ideas, thus preserving the essence of typical stews in musical styles such as tanguillo, tango, rumba or rancheras. In this album, as a continuation of the previous one, we present the transcription for piano of seven flamenco songs with gastronomic content.