THE CASSETTE SIDE ONE Tuning Note A for the 5th String ‘The Open Strings of the G Exercise 1 Exercise 2 Exercise 3 Exercise 4 Exercise 5 A First-Day Solo: Malaguefia Malaguefia: First Slower Version “alaguefia: Second Slower Version Lessons 2,3 and 4 Lesson 2 The First Two Compases (slowly) Rhythm, Llamada and First Falseta Second Falseta First Soleares (complete) Lesson 3 Ligado Exercise (slow) Ligado Exercise (faster) Lesson 4 Third Falseta Three More Rhythm Compases Picado Exercise Lesson 5 Seguiriyas Lesson6 —Alegrias ‘esson7 Second Soleares Lesson8 Exercise for Double Arpegio and Barré Lesson 9 —_Fandangos de Huelva Fandangos: Introduction and First Falseta (slowly) Lesson 10 Three Sevillanas First Sevillana (slowly) Lesson 11 Trémolo Falseta for Soleares Lesson 12 First Bulerias Lesson 13 Second Bulerias ‘Third Bulerias Final Compas of Third Bulerias (slowly) Compas of Soleares with Triplet Rasgueo Lesson 14 Farruca SIDE TWO. Lesson 15 Fourth Bulerfas Lesson 16 Granadinas vi ‘Music composed and played by JUAN MARTIN Lesson 17 The Solo Tientos Tientos: The Basic Compas Alternative Basic Compas Lesson 18 Zapateado Lesson 19 Soled por medio Lesson 20 Malaguenas Lesson 21 Tarantos Lesson 22 Soled Lesson 23. Alegrias en mi Lesson 24 Seguiriyas Lesson 25 Bulerias Lesson 26 Daily Exercise B WRITING DOWN FLAMENCO Flamenco is an artform which traditionally does not use written notation. Many readers must, therefore, wonder about the authenticity and aecuracy fof the transcriptions of Juan Martin's mesic into stall notation and tablature (cira). The approach adopted here was designed to preserve as ‘much 2 possible the vital spontaneity of Juan's playing and to avoid simplification or distertion in showing how Flamenco Is actually played. After the main outlines of the Method had been decided upon, he played and tape-recorded the pieces impromptu, most of them in fust one very inspced session. In this way he linked together many melodic faserss land rhythmic passages of rasgueo into. pieces suitable for a progressive introduction to guitar techniques as well a for solo performance. Next, the music was transcribed from the tape-recording into notation and cia Some further sections were recorded and transcribed separately in order to complete the coverage of basic techniques and essential toques, Working now from the basis of the transcriptions andthe recordings, Juan Imemorised the pieces as he had originally played them and re-recorded them for the cassette to go with the book. Both during and after this re-recording at EMI's studios the transcriptions were checked through again hote by note to ensure that they correspond as exactly as posible 10 the final cecording you will hear. Pc. "ELEMENTS OF FLAMENCO" The pupil who learns with Juan Martin receives much more than just a persona initiation Into flamenco music and guitar-playing. He also intro- ‘duced 10 a whole world of Flamenco as Juan emphasises and demonstrates the essential musical values which lve the music its unique strength and der to convey these more theoretical aspects of his teaching. the book includes, among the sections eaed “Elements of Flamenco’, Uiscusions of key’ terms used in Flamenco and a brief outline of the history of the ar, along with other, more practical detalls about the guitar. These sections, listed below, are presented separately at the end ef the cater Lessons in the book, Elements of Flamenco 1 Compis.The Guitar Page 12 2 Toques 3 3 Fingerails 30 4 Ate 7 5 Duende a 6 Choosing s guitar 50 7 Guitarreros ss 8 History (1) 59 9 History (2) ~The eutar 65 10 The role of the guitar n 1 Palmas 85 12 Improvisation 105THE BOOK — Contents Introduction by Juan Martin Page LESSON 1 — Getting Started 2 Part One: Introducing Soleares Part Two: A Technical Exercise 3 4 Part One: Soleares (concluded) Part Two: The Technique of Picado 5 Seguiriyas 6 Alegrias 7 More Soleares 8 Double Arpegio and Barré 9 Fandangos de Huelva 10 Sevillanas 11. + Trémolo 12 Bulerias (i) 13 Bulerias 14 Farruca 15 ~~ Bulerias 16 Granadinas 17 Tientos 18 Zapateado 19 Solea por medio 20 Malaguefias a Tarantos 22 Solea 23 Alegrias en mi 24 — Seguiriyas 25 Bulerias 26 Daily Exercises Appendix A Understanding Musical Notation Appendix B Flamenco Scales and the Phrygian Mode 15 19 4 32 34 38 44 52 56 60 66 72 4 80 86 94 99 106 mw 115 120 124 129 134 140 146 153 161 167roducing RASGUEO itch on the cassette to listen to Exercises 2, 3 and 4. These z “demonstrate your next objective, which is to play the E major chord Ged CASSETTE: EXERCISES 2,3 and 4 | ‘using flamenco ‘rasgueo’, the exciting sound most characteristic of the flamenco guitar. The exercises will be discussed step by step. The word ‘Yasgueo’, which embraces all strumming techniques using one or more fingers of the | pronounced ‘rachayo” in the language of Flamenco, with the ‘ch’ guttural as in the Scottish ‘loch (from the verb rasquear) is an alternative term, ight hand, is ‘Rasqueado Here we meet two of the commonest kinds of rasgueo, the single stroke with the index finger and the longer roll of the 4-stroke rasgueo. Index finger RASGUEO {@ Downstrokes. Place the right hand in the position shown in photo 1.11(a), with the thumb resting lightly beside the sound-hole of the guitar on the rosette, This stabilises the hand, which stays relaxed. Flex the index finger from the knuckle so that its nail nearly touches the base of the thumb. From this position flick it forwards, striking downwards across all six strings to reach the position shown in photo 1.11(b). The movement is as if you wel Tlicking a small object lying on the 6th string across the strings to just beyond the Ist. Do it quite gently to start With. The line of movement of the stroke is straight across the strings, at right angles to them. TIT Index finger downstroke Tag. on rosette of guiter {for in eros oll six strings). (a) start of stroke, (6) end of stroke, Do it again and again in a slow steady rhythm, beating time with your foot. With practice you will achieve a shorter, crisper sound. Exercise 2 can now be written as follows: count the rhythm aloud in 6's this time rather than 4’s. E major | fod CASSETTE: EXERCISE 2 | Ex.2 oe etc i (ii) Upstrokes. Once you have started the rhythm going steadily with downstrokes of the index finger you can begin to introduce upstrokes after each downstroke, On each upstroke the index flicks back towards its position at the start of the downstroke [shown in 1.11(a)], hitting the higher-pitched strings so that only the first four (strings 1, 2, 3 and 4) are sounded. You should try to get a ‘spring’ in the movement in order to give crispness and an clastic sort of ‘bounce’ to the shythm of alternate down- and upstrokes heard in Exercise 3 and written a5: | fmmd | CASSETTE-EXERCISE 3 nl and 5 and 6 and