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A classification and study of two singing styles, with 58 different substyles
of
siguiriyas and 85
substyles of soleares
in over 400 audio samples, including the sung verse. Based on the work of Luis and
Ramón Soler. | ||
Examples of six different styles of
bulerías por soleá sung by El Gloria, Manuel Torre, Pastora Pavón, Tomás Pavón, Antonio Mairena,
Pepe El Culata and Joselero. Study (in Spanish) of insertion of
half-compás
found in old recordings of bulerías por soleá. | ||
Useful guitar
exercises.
Scales and arpeggios for single-note lines. | ||
The music of
Gaspar Sanz. Zarabanda,
Jácaras and Pasacalle published in 1675 with asymmetrical rhythms that might have
been the origin of flamenco compás. | ||
Biographical
information on some of history's
flamenco guitarists. | ||
Soleares and siguiriyas
rhythms explained with illustrations. | ||
| Explanation of the sytem of noted rhythm used in standard notation. Includes useful information for developing your sense of rhythm. | ||
| A satellite photo of Andalusia and northern Africa. | ||
| Links on flamenco, guitarists and the guitar. | ||
| A small audio file of the guitar that you can use for your computer, mobile phone, etc. | ||
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En mi aposento... una guitarilla tomo, Que como "barbero" templo y como "bárbaro" toco; Luis de Góngora |
¡Ay! esta guitarra, plaza sonora de mi dolor: La prima quisiera darle un capotazo al bordón, porque el bordón, como toro del sentimiento mayor, va repartiendo profundas cornadas al corazón M. Benítez Carrasco |
Comments? Write to me at the following address:
