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Flamenco Guitar Method (Anglais) Broché – 1 juin 2005

5.0 étoiles sur 5 1 commentaire client

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Par Gilles Martin le 9 décembre 2016
Format: Broché Achat vérifié
Je recommande il y a matière à travailler et nous fait progresser en prenant du plaisir.
Un excellent pédagogue et en plus un super guitariste.
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Amazon.com: 5.0 étoiles sur 5 4 commentaires
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 If you buy this Method -- you WILL learn to play Flamenco Guitar 3 août 2016
Par Abdul Muzikir - Publié sur Amazon.com
Format: Broché Achat vérifié
This Method Delivers in EVERY possible-way.
I had never (and I mean NEVER) played guitar before, but was interested in learning since I was a boy.
I became 'Mesmerized' by Flamenco when I first heard the intoxicating rhythms while studying abroad in Italy in 1995 (long story) and found the hairs on the back of my neck standing up!
Right then, I told myself I was going to:
1.) learn to play the guitar.
2.) learn to play Flamenco Guitar.

It took me 15 years to finally realize my dream.

As you might imagine, being an American (with little-to-no access to any resources to learn Flamenco... let alone Flamenco Guitar) it was a challenge to being this journey towards realizing this dream.
In 2011, my wife gave me my first guitar for my birthday (mainly because I wouldn't stop talking about "buying a guitar and learning to play" Lol).

At this point, there were 'no more excuses' for putting anything off, so I began to do some research on the available 'Flamenco instruction' in my area (there was basically none).

I went online and found a couple of Flamenco Forums and stumbled upon a Review for this particular Flamenco Guitar Method.
What struck me, was the unbelievable detail (to the point of insanity) this Reviewer has described this series (to the degree that it said "the only mistake I found was on page 12, where one of the upstrokes was notated as a downstroke" -- I'm not making this up, it really said that! Lol).
I figured this guy really took this book apart... it seemed like (from the country of origin, the grammar of the review and the quality of the critique) that it was done by at the very least someone from Spain (probably from Andalucia) a Guitarist... and someone Very aware of Flamenco.

I bought both books together with the accompanying CD& DVD.

AGAIN... I had NEVER played guitar before, let alone Flamenco Guitar.

This Guitar Method is everything it says it is.
The Instruction is laid-out in a step-by-step, logical way... each exercise and technique building on the next.
It took me 2 1/2 years of constant, daily study to get through Book 1 (the DVD is an invaluable resource at providing the closest-thing to an actual "instructor" to walk you through each technique) the DVD has a wealth of built-in features that allow you to see the "Full-Speed" and the "Slow" version of each practice piece (helps ALOT).
The Practice Pieces start out as very simple (but musically interesting) compositions, that build in complexity... nuance and energy as you get deeper into the book.
What is really great about this method, is the instructor is actually attempting to teach you about 'Flamenco' and not just 'Flamenco Guitar'.
It covers the history. There's a section that covers each song type (palo, estilo) and leaves the door open for the student to "find their own way" through 'El Mundo del Flamenco' -- to the point that I have taken some of the practice pieces and "adjusted them" (either by adding, removing or rearranging) to suit the 'mood' of the audience... or 'listening to myself' as Maestro Graf-Martinez puts it.
I was able to reach a playing-level (AGAIN, I am coming from a point of "zero experience" with the guitar) were I held my first "semi-public" performance at my office Holiday Party about a year ago (Falsetta Line-up of: Soleares, Alegrias, Tangos and Bulerias) the Bulerias was a personal creation based-off of 'Cante Popular' and some phrasing from 'Diego del Gastor' and 'Enrique de Melchor'.
I haven't been able to dig that deep into Book 2 beyond the Bulerias (we currently have 2 kids, 3 years and younger) and have yet to learn the "higher-level" guitar techniques (Picado, Arpeggio, Tremolo, Alzapua) but you can produce some pretty decent material on your own with the techniques obtained from Book 1... Atleast enough to accompany a dance class or 2 (that's next on my list of things to do in life, lol).

1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Five Stars 28 août 2015
Par Rhyno van der Sluijs - Publié sur Amazon.com
Format: Broché Achat vérifié
This is a fantastic teaching aid. Very clear and concise. A big thanks to the authors!
3 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Flamenco guitarist 20 mai 2007
Par Erling Brabaek - Publié sur Amazon.com
Format: Broché Achat vérifié
This is a wonderfull tool in learning flamenco. It is very easy to understand and Gerhard has a great sense to as of how to produce a learning enviroment. I looked through a lot of dvd`s and most dont pay attention to the sync. between audio and video. This master does and it helps greatly in the observation part of the technique. I began using his two books about 5 years ago and bought the dvd editions for my dvd libary.

I only play Flamenco and rumba flamenco.

26 internautes sur 26 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Good, but not adequate on its own 27 avril 2007
Par Paul Magnussen - Publié sur Amazon.com
Format: Broché

The comments on presentation I made in my review of Volume 1 of this Method apply equally well to Volume 2, so I shall not repeat them.


The preliminary explanation of signs is missing from Volume 2. I presume that anyone buying Volume 2 is expected to have obtained the other first  which is borne out by the fact that the examples for both volumes are contained on the CD that comes with Volume 1.

Techniques addressed include arpeggios, tremolo, picado and alzap˙a. As before, the coverage is detailed and thorough; in particular, LucÌa's technique of playing picado from the middle joint of the finger (rather than the large joint) is described: "If it is played differently  it's just not Flamenco" (tell it to Sabicas).

The music is supplied throughout in both staff notation, and tablature with time values. I did find a few fairly self-evident misprints, e.g. the arrow directions in the Alzap˙a III exercise (p.59) are wrong, although correct in the previous one. Triplet is once confused with triad (p.57).

The sole place I found the text confusing was in the description of bulerÌas rhythm (p.39). To quote:

"Many players count


[Accents on beats 3-6-8-10-12: no easy way to represent this in straight ASCII (PM)]

which you will also find in most guitar methods. Someone invented this way of counting a long time ago, and many others just copied it without questioning it. It is not really wrong, but it isn't the best way either, because on the one hand, most coplas and falsetas don't start on the 1 [...] It is much easier to start on the accented 12 and to notate the whole the whole thing with alternating time signatures."

This gives the impression that the stated way of counting was invented by some long-forgotten flamenco loony; but of course, it is, and as far as anyone knows has always been, the standard and logical way of counting soleares. The explanation given obscures the vital connection between the two rhythms.

In point of fact, it is bulerÌas that were invented by a loony  specifically, by the 19th-century singer El Loco Mateo (according to legend), as a way of finishing his soleares.

It may indeed be "much easier to start on the accented 12". But the example in the book labels beat 12 as beat 1, which I have never heard a flamenco do. I've found it useful to tell people that they should regard the numbers as the names of the beats, so that beat 12 is still beat 12 even if it is first. (The author does indeed switch back to conventional numbering later).

It's true, too, that "most coplas and falsetas don't start on the 1", but some do: and some start on beat 9½!

In short, while it may be best on balance to notate starting on beat 12, the rationale given is suspect, and it has disadvantages as well as advantages.

The book continues with full-fledged versions of sole·, alegrÌas, bulerÌas, tarantas and tangos. They have the advantage of being attractive and very flamenco-sounding, but still within reach of students with only moderate technique. Next there is a catalogue of styles, including some pretty obscure ones, with a few brief musical examples. Finally, there is a short history of Flamenco, from antiquity to the present day, and a bibliography. The history is well-written and not just a regurgitation of other accounts; although I was a trifle startled to learn (p.122) that:

"The Thirty Years' War, the Spanish wars of succession, the War of Independence started by Napoleon, the Civil war under FRANCO and the transition to democracy in 1976 were of no cultural importance, compared with the former history of the country."


As previously mentioned, the English throughout both books is generally very good, the use of German-style quotation marks being trivial. However, there may well be those interested in Flamenco  especially classical guitarists  who as yet speak no Spanish, and so I feel obliged to quibble over the use of Spanish terms where accepted English ones exist: in particular, the consistent use of Spanish note-names, and terms like modo dÛrico for Phrygian mode.

This said, the author's explanations, both visual and textual, are very clear. However, I have several reservations about what is not explained. What they boil down to is that this is, by itself, nowhere near an adequate flamenco guitar method. The omissions are understandable: the size and price would be quadrupled if all the relevant material were to be described in the same detail.

If the title were "Modern Flamenco Guitar Technique", then these two books and DVDs would fulfill their function very admirably, and on that basis I recommend them.


I received a free copy of this item for review.
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