METODO GUIT FLAMENCA vol2 OK.indd

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During the first half of the nineteenth century this development continued with the structural change of six double strings to six single strings in the so-called “classicalromantic” guitar. The literary sources show the initiation of a certain professionalising of popular music in the context of the Romantic period, with the popular strummed guitar making a step towards the “pre-flamenco” guitar. The musical sources reflect a consolidated division between the popular strummed guitar and the classical-romantic guitar. Any reference to the popular guitar, for example the use of rasgueado, is rejected in the theoretical syllabus for “academic” guitar. However, journalistic sources note that this division in not universal, and that there are concert guitarists like Trinitario Huerta who continue to nurture the old European interest in “Spanish guitar”, based on rasgueados and references to the Spanish and Andalusian dances, and introduces this form to new audiences, like the United States. The addition of the sixth course, converted to six individual strings, together with the decisive contribution of guitar luthier Antonio de Torres’s new dimensions of guitar construction, allowed for the development of a new playing style. This style was based on the old forms of the eighteenth-century fandango “por medio”, leading to the “por arriba” style (in the mode of E). This was a new sound in popular Andalusian music and the form of fandango became known as the “rondeña” or “malagueña”, in order to differentiate its new six string accompaniment or “abandolao” from the baroque five string accompanied “noisy music” fandango. In contrast with the previous period, the musical sources from the second half of the nineteenth century confirmed the popularization of the academic concert guitar. Most players are direct or indirect disciples of the school of Dionisio Aguado, and play with his guitaristic concept of “brilliance”. These players constantly include “national airs” and “Andalusian airs” in their concert programs. This repertoire, influenced by the constant demand of “Andalusian themes”, seen as exotic by the bourgeoisie, was one of the impulses driving the emerging genre of flamenco. At the same time, the “flamenco” guitarists gradually freed themselves from their double role as flamenco singer/guitarists. They begin to specialise in guitar playing to accompany the new demand for flamenco singing in salons, which was brought about by the rapid expansion of “café-cantantes”. In creating the artistic adaptation of the popular strummed guitar, the players’ repertoire was based on academic concert repertoire. The flamenco guitar was definitive at the beginning of the twentieth century with the publication of its first method by Rafael Marín. Amongst others, it took a primordial figure like Ramón Montoya to define the criteria for flamenco guitar, and then Paco de Lucía to redefine the criteria in a contemporary musical context. Norberto Torres Cortés Doctor of Philosophy in Social Anthropology (1) De lo Popular a lo Flamenco: Aspectos Musicológicos y Culturales de la Guitarra Flamenca, Siglos XVI-XIX, Doctoral Thesis, University of Almeria, 2009. MUESTRA 23
24 ABREVIATURAS Y SÍMBOLOS UTILIZADOS ABBREVIATIONS AND SYMBOLS USED Dedos de la mano izquierda: Dedos de la mano derecha: Left-hand fingers: Right-hand fingers: 1 índice / index p pulgar / thumb 2 medio / middle i índice / index 3 anular / ring m medio / middle 4 meñique / little a anular / ring c meñique / little La digitación de la mano izquierda en la parte de la tablatura coincidirá el traste con el dedo, si no se indica lo contrario. Ejemplo traste 2 dedo 2. Left hand fingering for the part in tablature assumes that the finger to be used is the same as the fret number in the absence of any other indications. For example fret 2, 2nd finger. Signos para indicar las cuerdas de ciertas notas en el pentagrama: Signs to indicate string numbers for certain notes on the staff: �1 �2 �3 �4 �5 �6 *Cada nº indica la cuerda / each number indicates the string Cejilla: Colocación del dedo índice de la mano izquierda en forma de barra pulsando a la vez varias cuerdas. Barre: Flattening of the left-hand index finger to barre various strings. C Cejilla / full barre Ç Media cejilla / partial barre Golpes: / Taps: Golpe en la tapa por debajo de la primera cuerda con los dedos medio y anular. Tap on the guitar top below the first string with middle and ring fingers. �� Golpe en la tapa por encima de la sexta cuerda con el dedo índice. Tap the guitar soundboard above the sixth string with your index finger. Rasgueos: Arpegios: De graves a agudos de 6ª a 1ª cuerda From bass to treble, from the 6th to the 1st string MUESTRA De agudos a graves de 1ª a 6ª cuerda From treble to bass, from the 1st to the 6th string Acorde arpegiado Acorde arpegiado con pulgar Arpeggiated chord Arpeggiated chord with thumb Acentos: / Accents: (>) Este símbolo marca el acento de algunas notas. This symbol indicates an accent over certain notes.
Page 2 and 3: MÉTODO DE GUITARRA FLAMENCA DESDE
Page 4 and 5: En memoria del maestro Enrique More
Page 6 and 7: TARANTO: TANGUILLOS: SOLEÁ: • DE
Page 8 and 9: INTRODUCTION The Flamenco Guitar Rh
Page 10 and 11: STUDY TIPS 2 15. Practice 1 hour of
Page 12 and 13: ESTADO DE LOS ACORDES: Fundamental:
Page 14 and 15: ARMONÍA TRADICIONAL Dentro de la A
Page 16 and 17: CHORD POSITION: CHORD POSITION: Fun
Page 18 and 19: TRADITIONAL HARMONY There are two t
Page 20 and 21: TRASTES Frets 6ª 0 1 2 3 4 5 6 7 8
Page 22 and 23: La primera mitad del XIX confirmar
Page 26 and 27: RUMBA MUESTRA 25
Page 28: WWW.CARISCH.COM 9 7 8 8 4 3 8 7 1 1

METODO GUIT FLAMENCA vol2 OK.indd

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