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681:"We know from literary sources that the five course guitar was immensely popular in Spain in the early seventeenth century and was also widely played in France and Italy...Yet almost all the surviving guitars were built in Italy...This apparent disparity between the documentary and instrumental evidence can be explained by the fact that, in general, only the more expensively made guitars have been kept as collectors' pieces. During the early seventeenth century the guitar was an instrument of the people of Spain, but was widely played by the Italian aristocracy." Tom and Mary Anne Evans. Guitars: From the Renaissance to Rock. Paddington Press Ltd 1977 p.24
352:"Flamenco negra" guitars are called "negra" after the darkness of the harder woods used in their construction, similar materials to those of high-end classical guitars, such as rosewood or other dense tone woods. The harder materials increase volume and tonal range. A typical cypress flamenco guitar produces more treble and louder percussion than the more sonorous negra. These guitars strive to capture some of the sustain achieved by concert caliber classical guitars while retaining the volume and attack associated with flamenco.
520:: Rapid repetition of a single treble note, often following a bass note. Flamenco tremolo is different from classical guitar tremolo, it is usually played with the right hand pattern p-i-a-m-i which gives a 4 note tremolo. Classical guitar tremolo is played p-a-m-i giving a 3 note tremolo. Or it may be used as an ornament to a chord, in which case it is done on the highest chord string finishing with a thumb across all the strings that make the chord. This creates a very quick trill followed by a full bodied thumb.
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time the singer changes, the player can move the capo and use the same chord positions. Flamenco uses many highly modified and open chord forms to create a solid drone effect and leave at least one finger free to add melodic notes and movement. Very little traditional
Flamenco music is written, but is mostly passed on hand to hand. Books, however, are becoming more available.
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479:: Single-line scale passages performed by playing alternately with the index and middle fingers, supporting the other fingers on the string immediately above. Alternate methods include using the thumb rapidly on adjacent strings, as well as using the thumb and index finger alternately, or combining all three methods in a single passage.
720:(with rest strokes). It is often used rapidly to play a melody. This technique is similar to that of the rest stroke played in classical guitar. The difference is that technique is of central importance in flamenco while peripheral in classical. This enables flamenco guitarists to perform rapid picados while compromising tone quality.
510:(Arpegio): In flamenco, both 'ordinary' – up the strings from lower notes to higher; and 'reverse' – down the strings from higher notes to lower; or the two together – up the strings then back down from lower notes to higher notes and down again on the lower notes.
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Classical guitars are generally made with spruce or cedar tops and rosewood or mahogany backs and sides to enhance sustain. Flamenco guitars are generally made with spruce tops and cypress or sycamore for the backs and sides to enhance volume and emphasize the attack of the note. Nevertheless, other
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Flamenco guitar employs a vast array of percussive and rhythmic techniques that give the music its characteristic feel. Often, eighth note triplets are mixed with sixteenth note runs in a single bar. Even swung notes are commonly mixed with straight notes, and golpes are employed with the compas of
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Seco, or sometimes referred to as 'Sorda' (literally 'quiet', but here meaning 'muffled'; as opposed to 'Fuerte' – 'Strong'): A technique where the left hand damps the strings at the chordal tonic and the right hand plays purely rhythmic components. This creates a chugging like sound
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While a classical guitarist supports the guitar on the left leg, and holds it at an incline, flamenco guitarists usually cross their legs and support the guitar on whichever leg is on top, placing the neck of the guitar nearly parallel to the floor. The different position accommodates the different
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percussive; it tends to be brighter, drier and more austere than a classical guitar. Some jazz and Latin guitarists like this punchy tonality, and some players have even discovered that these guitars’ wide-ranging sound also works well for the contrapuntal voicings of
Renaissance and Baroque music.
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Flamenco guitars typically have lower action compared to classical guitars. This is for two reasons: lower action facilitates certain fast playing techniques while on the other hand string buzzing is not frowned upon like in classical performance, and it is often used intentionally as an expressive
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made guitars to sell at a wide range of prices, largely based on the materials used and the number of decorations, to cater to the popularity of the instrument across all classes of people in Spain. The cheapest guitars were often simple, basic instruments made from the less expensive woods such as
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is to change the key of the guitar to match the singer's vocal range. Because
Flamenco is an improvisational musical form that uses common structures and chord sequences, the capo makes it easier for players who have never played together before to do so. Rather than transcribe to another key each
311:, though other tone woods are used today. Volume has traditionally been very important for flamenco guitarists, as they must be heard over the sound of the dancers’ nailed shoes. To increase volume, harder woods, such as rosewood, can be used for the back and sides, with softer woods for the top.
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A well-made flamenco guitar responds quickly and typically has less sustain than a classical. This is desirable since the flurry of notes that a good flamenco player can produce might sound muddy on a guitar with a big, lush, sustaining sound. The flamenco guitars' sound is often described as
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playing techniques. Many of the tremolo, golpe, and rasgueado techniques are easier and more relaxed if the upper right arm is supported at the elbow by the body of the guitar rather than by the forearm as in classical guitar. Nonetheless, some flamenco guitarists use classical position.
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Ligado: Using only the left hand fingers to 'hammer' down on a string in successive ascending frets to sound notes from lower to higher, while the right hand is held off the strings; also 'pulling' off a string in successive descending frets to sound notes from higher to
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Glisando: While holding a finger down on a note at one fret, sliding the finger up the frets of that string to glide the finger through a series of notes up or down (lower to higher or higher to lower); occasionally also used in
254:, but with lower action, thinner tops and less internal bracing. It usually has nylon strings, like the classical guitar, but it generally possesses a livelier, more gritty sound compared to the classical guitar. It is used in
279:, one of the most renowned luthiers, did not differentiate between flamenco and classical guitars. Only after Andrés Avelar and others popularized classical guitar music, did this distinction emerge.
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plectrum technique. The right hand thumb is used both up and down for single-line notes and/or strumming across a number of strings. Both are combined in quick succession to give it a unique sound.
307:, which produces a "brighter" and more percussive sound quality. Builders also use less internal bracing to keep the top more percussively resonant. The top is typically made of either spruce or
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Picados are the flamenco scales of a guitar, or a guitar playing technique where the musician plays scale passages by alternating the index and middle fingers. Picado is normally executed
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Flamenco players tend to play the guitar between the sound hole and the bridge, but as close as possible to the bridge, to produce a harsher, rasping sound quality. Unlike classical
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Flamenco is played somewhat differently from classical guitar. Players use different posture, strumming patterns, and techniques. Flamenco guitarists are known as
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for the top. This (in the case of cypress and sycamore) accounts for its characteristic body color. Flamenco guitars are built lighter with thinner tops than
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485:: Strumming done with outward flicks of the right hand fingers, done in a variety of ways. A nice rhythmic roll is obtained, supposedly reminiscent of the
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strings are struck towards the soundboard in such way that the striking finger is caught and supported by the next string, hence the name apoyando (from
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Tirando: Pulling or plucking the strings – 'ordinary' plucking of the strings with index, middle and ring fingers when playing falsetas.
324:), commonly made of plastic, similar to a pickguard, whose function is to protect the body of the guitar from the rhythmic finger taps, or
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different types of rhythms (i.e. bulerias, soleas, etc.) as is strumming with the strings damped for long passages or single notes.
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659:"The Structure of the Classical Guitar：The flamenco guitar-similar, yet different - Musical Instrument Guide - Yamaha Corporation"
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Originally, all guitars were made with wooden tuning pegs that pass straight through the headstock, similar to those found on a
450:(capo) which raises the pitch and causes the guitar to sound sharper and more percussive. However, the main purpose in using a
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that greatly accents the rhythm, allowing the singer or dancer to play off the beat, creating a strong contra-tempo feel.
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In addition to the techniques common to classical guitar, flamenco guitar technique is uniquely characterized by:
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Arrastre: Dragging the ring finger across the strings from highest to lowest, creating a rapid arpeggio.
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meaning "to support"). At times, this style of playing causes the vibrating string to gently touch the
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562:("Gypsy" or "flamenco"): deep and very expressive, using many grace notes and countertempos.
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In contrast to the classical guitar, the flamenco is often equipped with a tap plate (a
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Example of a cedar top flamenco guitar with traditional tap plates/golpeadores installed
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José L. Romanillos "Antonio De Torres: Guitar Maker-His Life and Work" (1987, 1997)
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706:. trans. Molly Comerford Peters. Portland, OR: Amadeus Press. p. 126.
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Skiera, Ehrenhard; Schulze, Bernhard-friedrich; Claus
Schreiner (1990).
568:(from a bullfighting term for a calm, fearless bull): slow and peaceful.
556:("graceful"): lively, rhythmic, with a brilliant, almost metallic sound.
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Both accompaniment and solo flamenco guitar are based as much on
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types of wood may be used for the back and sides, like rosewood,
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409:, "players") and the flamenco guitar technique is known as
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345:, as opposed to the modern classical-style guitars'
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703:Flamenco: Gypsy Dance and Music from Andalusia
500:Alzapúa: A thumb technique which has roots in
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634:"Classical guitar and flamenco guitar action"
574:("sober"): without ornament or showing off.
60:Learn how and when to remove these messages
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466:harmonies; most often, both are combined.
497:can be performed with 5, 4, or 3 fingers.
489:(flamenco dancer's) feet and the roll of
222:Learn how and when to remove this message
157:Learn how and when to remove this message
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258:, the guitar-playing part of the art of
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199:of all important aspects of the article.
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586:("short"): using only basic technique.
195:Please consider expanding the lead to
16:Acoustic guitar used in Flamenco music
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405:(from an Andalusian pronunciation of
1651:Benidorm International Song Festival
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444:Flamenco is commonly played using a
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95:adding citations to reliable sources
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1666:Festival Internacional de Santander
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1110:Composers for the classical guitar
315:technique by flamenco guitarists.
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41:This article has multiple issues.
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187:may be too short to adequately
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49:or discuss these issues on the
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779:List of flamenco guitarists
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19:For other uses, see
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789:Picados (technique)
394:Flamenco guitarist
349:tuning mechanisms.
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147:December 2009
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108: –
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102:Find sources:
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80:This article
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1899:
1671:OTI Festival
1635:Spanish rock
1620:Spanish jazz
1410:Cartageneras
1328:Género chico
1255:New flamenco
1132:Bibliography
1002:
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666:. Retrieved
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641:. Retrieved
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572:Toque sobrio
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554:Toque airoso
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283:Construction
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184:lead section
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101:
89:Please help
84:verification
81:
57:
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44:
43:Please help
40:
1579:Extremadura
1385:Cante jondo
1310:Tono humano
1280:Rock urbano
1275:Rock català
1013:Lyre-guitar
1008:Harp guitar
584:Toque corto
1970:Categories
1844:Cabreiresa
1791:Txalaparta
1766:Psalterium
1756:Kirikoketa
1470:Siguiriyas
1445:Martinetes
1440:Malagueñas
1319:Xiringüelu
1315:Villancico
1285:Seguidilla
1260:Nova Cançó
888:Repertoire
668:2023-02-23
617:References
590:Toque frío
487:bailador’s
386:Techniques
205:April 2012
117:newspapers
46:improve it
1940:Chirigota
1895:Classical
1864:Sanabresa
1854:Odrecillo
1701:Castanets
1696:Bandurria
1574:Catalonia
1544:Andalusia
1505:Verdiales
1450:Peteneras
1305:Tonadilla
1295:Tajaraste
1290:Sevillana
1270:Pasodoble
1265:Pasacalle
1202:Chirigota
987:25-string
982:14-string
977:13-string
972:12-string
967:11-string
955:10-string
883:Technique
539:golpeador
524:flamenco.
491:castanets
483:Rasgueado
407:tocadores
371:satinwood
356:Materials
321:golpeador
275:cypress.
189:summarize
52:talk page
1981:Flamenco
1950:Rondalla
1945:Comparsa
1935:Charanga
1900:Flamenco
1849:Galician
1834:Asturian
1816:Zambomba
1751:Guitarro
1721:Dulzaina
1711:Chácaras
1599:Valencia
1490:Tarantas
1435:Guajiras
1430:Granaína
1425:Garrotín
1400:Cantiñas
1375:Bulerías
1360:Alegrías
1345:Flamenco
1323:Zarzuela
1250:Muiñeira
1227:Fandango
1222:Ensalada
1023:Requinto
950:9-string
938:8-string
926:armónico
921:7-string
903:Pedagogy
718:apoyando
605:See also
598:flamenco
508:Arpeggio
423:apoyando
403:tocaores
297:rosewood
293:sycamore
272:luthiers
260:flamenco
21:Flamenco
1910:Morisca
1890:Baroque
1874:Xeremia
1859:de saco
1839:de boto
1801:Vihuela
1786:Trikiti
1776:Tambori
1731:Flabiol
1726:Fiscorn
1495:Tientos
1415:Farruca
1370:Bambera
1365:Alboreá
1217:Endecha
1089:Vihuela
1064:Gittern
1054:Cittern
931:Russian
893:Strings
873:History
857:Luthier
643:28 July
518:Tremolo
495:rasgueo
452:cejilla
447:cejilla
428:Spanish
418:tirando
289:cypress
266:History
131:scholar
1905:Latina
1883:Guitar
1811:Xirula
1796:Txistu
1781:Timple
1761:Palmas
1741:Gralla
1691:Alboka
1589:Murcia
1549:Aragon
1510:Zambra
1335:Romani
1300:Tiento
1240:Jácara
1192:Bolero
1181:Styles
1049:Citole
960:Yepes'
943:Brahms
898:Making
852:Guitar
594:gitano
514:lower.
493:. The
477:Picado
431:apoyar
347:geared
339:violin
327:golpes
301:spruce
248:guitar
133:
126:
119:
112:
104:
1930:Cobla
1826:Gaita
1771:Rabel
1500:Tonás
1485:Tango
1475:Soleá
1465:Saeta
1460:Rumba
1380:Cante
1350:palos
1232:Folia
1212:Cuplé
1207:Copla
1098:Lists
535:Golpe
464:tonal
460:modal
435:frets
411:toque
377:Sound
363:maple
309:cedar
295:, or
256:toque
246:is a
138:JSTOR
124:books
1955:Tuna
1806:Viol
1455:Polo
1245:Jota
1079:Laúd
645:2024
337:, a
335:lute
110:news
1236:Isa
596:or
502:oud
462:as
367:koa
343:oud
341:or
93:by
1972::
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242:A
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