The AIG Flamenco Series approaches the study of flamenco in the same “organic” fashion one learns in Spain: beginning with basic chords and techniques, then applying them to songs and dances which are a part of daily life. As skills develop, flamenco forms are played with more complex technique. The subtlety of expression in advanced forms & techniques are then added to the guitarist’s repertoire. As the series progresses, earlier examples are combined and expanded to become full-length solos utilizing the full range of flamenco technique. Each volume includes an instructional performance CD which adds life to this brilliant art form.
Keys to Flamenco Guitar, distributed by Santorella Publications, begins with fundamental rhythms and techniques designed to be useful for both novice and advanced players. The techniques developed are rasguaedo (strumming), golpe (tapping), pulgar, alzapua (thumb techniques), ligado (left hand slurs), arpeggio (broken chords) and picado (scale technique). These techniques are applied to the rhythms of soleares, alegrias, farruca, tangos, tientos, bulerias, siguiriyas and verdiales. Extended solos are developed in most of these forms.
Part Two, Advanced Flamenco Guitar, explores the virtuoso techniques of solo flamenco guitar: tremolo, advanced arpeggio, ligado, alzapua and rasgueados. Musical examples are drawn largely from the work of past & present maestros. In the subsequent “advanced” volume, new forms are introduced. In addition, more complex variations of basic forms are developed and the solos presented expand in breadth and difficulty.
Contents; The Notation System • The Flamenco Guitar • Flamenco Playing Position • Fingernails • Flamenco “Keys” & the Cejilla • Flamenco Composers • RASGUEADO with the INDEX FINGER • FARRUCA • SOLEARES • ALEGRIAS • TANGOS • FIVE-STROKE RASGUEADO; por Farruca • por Tangos • por Soleares • por Alegrias • THE LLAMADA; por Soleares • por Alegrias • por Alegrias • THUMB FALSETAS • Liamada por Soleares • Falseta por Soleares • por Soleares • por Alegrias • por Tangos • COMPAS SEQUENCE por TANGOS • ARPEGIO FALSETAS • ESCOBILLAS; por Alegrias • por Farruca • por Soleares • FLAMENCO GUITAR SOLOS; SOLO por SOLEARES • SOLO por FARRUCA • SOLO por ALEGRIAS • COMPAS & GOLPE • GOLPE • BULERIAS; Compás of Bulerias • por Bulerias • por Bulerias • THUMB STROKES with GOLPE • Llamada por Soleares • VERDIALES • ALZAPUA • Alzapüa por Soleares • Alzapda por Tangos • TIENTOS • INDEX DOWNSTROKES with GOLPE; por Farruca • por Soleares • ROSAS • SIGUIRIYAS • The Compás of Siguiriyas • SIGUIRIYAS FALSETAS • Falseta por Siguiriyas • Alzapua Falseta por Siguiriyas • SOLO por SIGUIRIYAS • DEVELOPING PICADO TECHNIQUE; Alternation Exercise • Open Position Phrygian Scales • Movable Phrygian Scale • por Soleares • PICADO FALSETAS; por Alegrias (Mario Escudero) • por Farruca (Nino Ricardo) • por Soleares (Sabicas) • por Alegrias (Paco de Lucia) • DEVELOPING BULERIAS FALSETAS • CONCERT FLAMENCO GUITAR; por Bulerlas • por Bulerias • por Bulerlas (Diego del Gastór) • por Bulerias • CONCERT FLAMENCO GUITAR • CONCERT SOLO por BULERIAS • HEMIOLA & FLAMENCO • The PHRYGIAN MODE & FLAMENCO • INDEX OF FORMS
This method is designed as a “self contained” course of instruction, bringing the student from a beginning level of flamenco to the performance of concert level solos. However the material can also be used selectively, and in combination with other material.
Beginning guitarists can focus on the basic examples of each flamenco form and technique, progressing through the method by passing over the more advanced examples in each lesson. Advanced players, and those already familiar with flamenco, can go directly to the more difficult material.
Used as a reference guide, “The Keys To Flamenco” will answer guitarist’s general questions about flamenco and help in understanding what one encounters in transcriptions and recordings. As a source of flamenco repertoire, throughout these volumes are solos ranging in difficulty from student to professional.
INTRODUCTION by the author, Dennis Koster
Flamenco, once the private art of the gypsies of Andalucia, is today an international cultural force. People the worlds over not only appreciate flamenco, but actively participate in an art form originally defined by the narrowest of ethnic boundaries. Although a detailed discussion of flamenco history goes far beyond the scope of this book, some cultural perspectives are essential for understanding the art of flamenco.
“Flamenco” is the term used to describe the various arts associated with the gypsies of southern Spain; they are chiefly Cante (CAHN-tay -- song), Baile (BYE-lay -- dance) and Toque (TOH-kay -- guitar playing). The art of flamenco also encompasses gypsy poetry, story telling, philosophy andlife-style. Although flamenco developed in the gypsy communities of Andalucia, it is not exclusively a gypsy art.
The literal translation of the Spanish word flamenco is “Flemish”. How this word came to describe gypsy art is much like flamenco history, a subject of controversy and speculation. One interesting possibility is that “flamenco” was a 19th Century Spanish expression meaning “loud” or “boorish”, deriving from the view of straitlaced Spanish society toward the behavior of Northern Europeans vacationing in their country. One can easily imagine this adjective applied to the loud and emotive music of the gypsies -- perhaps even adopted by the gypsies themselves in defiance against a repressive society.
Flamenco as we know it today was probably not established until the 19th Century; however, its origins date from the time of Ferdinand and Isabella, the persecutions of the Inquisition and the melding of three cultures outlawed in 16th century Spain: Gypsy, Moorish and Jewish. Indeed, the authentic fusion of European, North African and Eastern musical influences in flamenco may account for its international popularity and explain why dancers and musicians from many cultures choose to express themselves through this art.
A NOTE TO TEACHERS
It is hoped that this method will complement, rather than contradict, your own teaching approach and prove to be a valuable aid. Individuality, flexibility and the technical expressive possibilities within flamenco are stressed throughout, so that any teacher’s techniques and material can be easily incorporated into the lessons.
Classical guitar teachers will find these books to be a useful guide to the music which inspires a large part of the classical repertoire. In addition, the easier pieces can become repertoire material for your students and the advanced solos are attractive additions to a recital program.
ABOUT THE AUTHOR, Dennis Koster
Along with his success as a concert artist, Dennis Koster has been one of New York’ s most respected and sought after teachers for over twenty years. He has been on the performing artist roster of Affiliate Artists, Lincoln Center Institute, the faculty of Long Island University, the National Guitar Summer Workshop and American Institute of Guitar. He has lectured and performed at the Juilliard School, the Peabody Conservatory, the American String Teachers Association and the New York Bach Gesellschaft. Born and raised in New York City, Dennis Koster began his career as an accompanist with local Spanish dance companies while still in his teens, studying during this time with the great flamenco master Mario Escudero. Two decades later Koster had the rare opportunity to study with the legendary Sabicas, who called him “an exceptional interpreter of my compositions”.
Koster began classical guitar studies with José Luis Rodrigo in Madrid, later working with Julio Prol and Jerry Willard in New York. His 1975 Carnegie Hall debut was hailed in the New York Times as “a considerable success...a brilliant, aptly fantastic performance.” He concertizes extensively throughout the United States, has toured Japan and been heard on numerous radio broadcasts. Koster’s unique programs combine classical guitar masterworks, his own transcriptions, “classical” flamenco and the artist’s original flamenco compositions.
Aside from solo concerts and teaching, Koster enjoys fruitful collaborations with a number of outstanding musicians. An association with the young Mexican composer Samuel Zyman of Juilliard has thus far produced two major works, the Sonata para Guitarra (1988) and Concerto for Guitar & String Orchestra which Koster premiered with the Westfield Symphony under Brad Keimach in 1990. Since 1985, Dennis has performed at Carnegie Hall with the outstanding virtuoso George Mgrdichian on several occasions. This duo has made many appearances together exploring the fusion of Flamenco and Middle Eastern music.
