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Juan Martin Flamenco Master Class

Juan Martin Flamenco Master Class

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Published by: fretworks on May 04, 2011
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09/16/2014

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Flamenco
JUANMARTiNMASTERCLASS
®
FLAMENCOA-GOGOt
RECOMMENDEDUSTENING
GTRATING
IIII
ALONGWITH
THE
VIRTUOSI
Paco
de
Lucia
andPacoPena,JuanMartinisoneofthemostinternation3Jllyrenownedexponents
0'
flamenco,guitar,If
you're
new
to
hismU$IC,wewould
highly
recommend
hisaibum.ArteFlamencoPure',You
can
find
OUt
more
abouthim
at
www.flamencovision.com.IncludingdetailsofCO$,concertsandhisfinebook
'SolosFlamencos",Tnecompilation'NuevoFI;lmeJ'lco'(Na$cente)offersageneraltaSteofmodernflamenco.while
'TheRough
Guide
ToFlamenco'isadecentsingleCDprimer.Thesite
www..
lameoco-world.com
alsooffersa
wealth
ofinformation.
Help~Imf'l'O'Oeyour:,Flamenco
b...,sics
IIPkkillil
hand
cOllltrol
ill
SemI!
ohhyt:hm
"Rasgueados
is.
executed
bystriking
thestringsdownwards,first
with
thenailofthe
littlefinger."
V
Inuoso
fl<1mencQ
guitarist
JuanMartIn
is
II
renowned!
teacher,performerandrecording
artist.lie
divides
hrsurnebetweenLondonand
Malaga,andspendsmuch
of
his
timetamingandrunninghis
companyFlamcncovision,a
company
dedicated
to
the
promotionofhigh
quality
flameneo.
Icaught
LIP
with
.l1IlU1recentlyinhis
NorthLondonhomeattheendofa
13-dat~
tour
with
'The4Martins'(theothersbeingTaylor,Simpson
andMcCarthy).
Til
musicof
the
flamencoguitar
goes
backmanyenturiesand
evolvedasanauraltradition
in
the
southernregionofSpain.TherearedistinctiveArableandNorthAfricanelements
in
thesoul
of
the
music,
whi'hIsalsoimprovisetorv.
Theroleoftheguitarin
flamenco
wastoprovide
aecurupanlmentforsingersand
dancers
and
anyseriousstudy
or
flamencowould
requirethestudenttoembracethisheritage.However,the
flamenco
guitar
has
alsodevelopedasasoloinstrument,
anditisinthiscontextthatourmasterclass
with
Juan
is
presented.
YOURG'l'TUTOR
54
GLlitar'fulhmiqueo;
JANUARY200)
Juan
wasverykeen
[0
share
many
ofthe
fundamentali:lametlCO
techniqueswithGTreaders,and
he
j
umpedstraigh
t
ill
toteachingmodewhenI
asked
him
00describe
some
formsof
rasgceados(raz-gway-ados).
IEXAMPLE
I
on
theGTCDisa
four-noterasgueado.Itis
executedby
Strikingthestringsdownwards,
nrst
with
the
nailof
thelittlefmger
(c)andthen
in
quicksuccession
by
tilemillsof
the
ring(11),
middle
em)
and
index
(I)
lingers.
EXAMPLE2,thefrve-note
rasgueadois
3
simple
variation
on
thistechnique.Youbeginwitha
four-noterasgueadoand
tmlshwith
all
upstroke
by
theindexfinger.These
two
techniquesarethefoundation01variousothertypesofrasgueados,suchasthe'
continuous
roll.
EXAMPI"I;
J
isa
PiCMOexercise
andiscloselyrelated
to
classical
guitar
technique.
You
simply
alternatethe
index
and
middle
fingers
throughoutthoexercise.You
should
neverrepeatastroke
with
thesamelinger,
EXAMPi!.E4
is
called
Alza
Pua
(literally
'with
aplectrum')isplay
d
exclusivelywith
the
thumb.
in
the
exercise,Juanmoved
throughvarioussimplebane
chords,
sucha,
Fa.nd0
us1ng
theEshape,
[nE!XAt1P!.E!i,
.Iuan
wanted
Ul
lntroducesomearpeggiopracticeb:,
devisingthis
simple
'backarpeSl'lio'
(p,
B,
m,
j)
exercise.
EXAMPLE6'Sevillana(Ml
Copla)',Juanalso
SL[gges
ed
that~\,lookatanumberofshortriec'es
thatare
presented
in
his
book'Solo-Flamencos',whichcomescomplete
with42pieces
pwselileu
onaudio
CDandDVD.
After
somediscussi
we
felit
thatthe'Sevillana
(Mi
Copla)"wouldbean
appropriate
introduction
to
the
style.
ThB
sixth
stringistuneddowntoDforthis,
givingtheguitararichsonorityfer
the
0
minortoDmajorkey
change
Theterm
'mi
copla'means
'f!1j.'
verse'indicating
that
thepiece
is
oneofJuan's
OWIl
compositions.
InB.AR8Juanusesthe
percussiveOolpetechruque
(indicatedwith
the
S11i1311quare).
Thistechniquecombinesa
downwardstrum
with
ataponthe
golpeador(the
protective
tapplate
nearthehiahEstring)wirhtile
ri.ng
(a)finger.
This
doublemovement
will
requiresomepractice.
EXAMPLE7'Tarantos-Toque
delasMinas'.Thisexampleis
typical
oftheLevantregionofSpain
.:SOUNDADVICE
ANDALUCIABABYBOOM
FORTHIS
RECORDING
Juanused
hisSobrlnosdeDommgoEsteso
(1':172)
flamencoguit:ar.
We
recordedthe'lesson
in
fils
conservatory
with
a
singleRode
NTLcondensermkrophonedirect
toaTascarn
n8
harddiscrecorder.
 
wheretheimmlgram
workers
wnl'kedthemines(mlnas).Thepieceisplayedwitha,capo(ceiilla)atthesecondIret,.1havedispensed
withthestandardG'l'capo
notation
in
this
example.
Ln
other
words,
the2
ill
BARI
is
playedatthe
SPCGII,I
fretabovethe
capoetc,Thepiecealsoemploysaforcefllldownstrokeusingthemiddle(m)3mlring(3)
flngel'S
atthesametime.Thisis
marked'rna'togetherwitha
directlonaiarrow
in
thelabstave,
EXAMiPLE8
'Rumba-rlsldia
nueve',Thisrumba
I'(,!le(;t.~
tll(~wLin
imfluenc:-e
ill
tlamenco
guitar
music.
Checkout
the
nuroduct.on
to
1-11\$
exampleon
l
he(IT
(1n
wllf~r~.lImn
stressestheimportanceofplaying
the
piece
with
therumbarhythm,AgainThispieceisplayedwltha
capoatUlesecondfretami
aga!JI
WP
JUANUSES
A
SI
MPLE
oll....oi~onhisright-
handflails
1:0
stren,gdlen
them-andh,e
5-"Y"
that
tn
Spain
the<)<
~i!
oliveoilto
stren~he!l
horses'hoove~!havetllspensed
''''itrl
thetraditionalGTcaponotation(seeabove).Forthisexample,wehavetakenanexcerptfromtheoriginal,Youcanalsocheckouta
v
ery
interesting
takeonthis
ptcce
on
Juan
Marrin's
lIPW
alhurn'CaminoLatino',Ihope
YOU\'e
enjoyedourfirstvisi,t
"0
flamencoinlIT:lioo(j
luck
withtheexamplesandI'llseeyou
I1PX~
month,
OIiJ!
lifii
~ANUARY2003
Ouitar'IOC!lmiques
55
 
Hamenco
JUANMIARTiNIMASTERCLASS
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