The AIG Flamenco Series approaches the study of flamenco in the same “organic” fashion one learns in Spain: beginning with basic chords and techniques, then applying them to songs and dances which are a part of daily life. As skills develop, flamenco forms are played with more complex technique. The subtlety of expression in advanced forms & techniques are then added to the guitarist’s repertoire. As the series progresses, earlier examples are combined and expanded to become full-length solos utilizing the full range of flamenco technique. Each volume includes an instructional performance CD which adds life to this brilliant art form.
THE KEYS TO FLAMENCO GUITAR, PART II: ADVANCED FLAMENCO GUITAR
The first volume of this series covered basic flamenco techniques and their application to fundamental song and dance forms. The lessons in Part II require basic rasgueado, golpe and alzapáa technique, as well as familiarity with the rhythmic structures of soleares, alegrias, bulerias andsiguiriyas.
Advanced Flamenco Guitar , distributed by Santorella Publications, explores “virtuoso” flamenco playing: refinements of rasgueado; advanced arpegio, ligado, tremolo, alzapua falsetas and modern rasgueado techniques. Along the way there will be new song and dance forms: fandangos de Huelva, sevillanas, verdiales and the toques libres tarantas, granadinas and malagueñas. Professional level falsetas are presented throughout the book to illustrate these forms and techniques.
In the last chapter, full length solos for alegrias and soleares are developed with material from throughout “The Keys To Flamenco”, Parts I and II. This chapter also demonstrates how to “put together” a malaguenas y verdiales as a guide to creating your own solos.
Here’s a look at what you’ll find inside Volume Two; REFINING RASGUEADO TECHNIQUE THEORY INTO PRACTICE • THE COPLA; LESSON ONE – FOUR •FANDANGOS DE HUELVA • FANDANGOS COPLAS • SEVILLANAS • VERDIALES • VIRTUOSO FALSETAS & THE TOQUE LIBRE • ADVANCED ARPEGIO & LIGADO FALSETAS • THE DEVELOPMENT OF VIRTUOSO VARIATIONS • INDIVIDUAL VIEWPOINTS • FANDANGOS GRANDES & THE TOQUE LIBRE; LESSON FIVE – EIGHT • SOLO por TARANTAS • TREMOLO; LESSON NINE – ELEVEN • SOLO por GRANADINAS • TREMOLO TECHNIQUE • TREMOLO FALSETAS • TREMOLO IN OTHER CONTEXTS • ADVANCED ALZAPUA • ALZAPUA FALSETAS •ALTERNATIVE USES OF ALZAPUA TECHNIQUE • ADVANCED RASGUEADO TECHNIQUE • THE THUMB IN RASGUEADO • CONTINUOUS RASGUEADOS • TRIPLET RASGUEADOS • MULTIPLE RASGUEADOS • CREATING FLAMENCO SOLOS • SOLO por ALEGRIAS • SOLO por SOLEARES • CREATING YOUR OWN SOLOS • CONCERT FLAMENCO SOLOS • SOLO FANDANGOS de DOS GENERACIONES • INDEX OF FLAMENCO FORMS
This method is designed as a “self contained” course of instruction, bringing the student from beginning levels of flamenco to the performance of concert level solos. However, the material can also be used selectively and in combination with other material.
Beginning guitarists can focus on the basic examples of each flamenco form and technique, progressing through the method by passing over the more advanced examples in each lesson. Advanced players already familiar with flamenco, can proceed to the more difficult material.
Used as a reference guide, “The Keys To Flamenco” will answer guitarist’s general questions about flamenco and help in understanding what one would encounter in transcriptions and recordings. As a source of flamenco repertoire, the solos throughout range in difficulty.
INTRODUCTION by the author, Dennis Koster
Only a few decades ago, flamenco was performed almost exclusively in Spain; today flamenco is a vital part of international culture, performed by artists the world over. While still alive and well in its original role as accompaniment to traditional flamenco song and dance, the art of flamenco guitar has also taken on new definitions, a solo voice on the concert stage appreciated by classical music lovers; an integral part of “fusion” with progressive jazz; even a significant role in “New Age” music.
Any guitarist who loves authentic flamenco music and wishes to incorporate it into his or her personal style can never be satisfied merely to “fake a flamenco feel,” but rather insists on learning the language of flamenco. Teaching this language in a clear and straight forward manner is the goal of the Keys to Flamenco series.
A NOTE TO TEACHERS
It is hoped that this method will complement, rather than contradict, your own teaching approach and prove to be a valuable aid. Individuality, flexibility, and the technical and expressive possibilities within flamenco are stressed throughout, so that any teacher’s techniques and material can be easily incorporated into the lessons.
Classical guitar teachers will find these books to be a useful guide to the music which inspires a large part of the classical repertoire. In addition, the easier pieces can become repertoire material for your students and the advanced solos are attractive additions to a recital program.
ABOUT THE AUTHOR, Dennis Koster
Along with his success as a concert artist, Dennis Koster has been one of New York’ s most respected and sought after teachers for over twenty years. He has been on the performing artist roster of Affiliate Artists, Lincoln Center Institute, the faculty of Long IslandUniversity, the National Guitar Summer Workshop and American Institute of Guitar. He has lectured and performed at the Juilliard School, the Peabody Conservatory, the American String Teachers Association and the New York Bach Gesellschaft. Born and raised in New York City, Dennis Koster began his career as an accompanist with local Spanish dance companies while still in his teens, studying during this time with the great flamenco master Mario Escudero. Two decades later Koster had the rare opportunity to study with the legendary Sabicas, who called him “an exceptional interpreter of my compositions”.
Koster began classical guitar studies with José Luis Rodrigo in Madrid, later working with Julio Prol and Jerry Willard in New York. His 1975 Carnegie Hall debut was hailed in the New York Times as “a considerable success...a brilliant, aptly fantastic performance.” He concertizes extensively throughout the United States, has toured Japan and been heard on numerous radio broadcasts. Koster’s unique programs combine classical guitar masterworks, his own transcriptions, “classical” flamenco and the artist’s original flamenco compositions.
Aside from solo concerts and teaching, Koster enjoys fruitful collaborations with a number of outstanding musicians. An association with the young Mexican composer Samuel Zyman of Juilliard has thus far produced two major works, the Sonata para Guitarra (1988) and Concerto for Guitar & String Orchestra which Koster premiered with the Westfield Symphony under Brad Keimach in 1990. Since 1985, Dennis has performed at Carnegie Hall with the outstanding virtuoso George Mgrdichian on several occasions. This duo has made many appearances together exploring the fusion of Flamenco and Middle Eastern music.
