meiriseamamo.tk: Flamenco Guitar Method Volume 1: Book/CD/DVD Pack ( ): Gerhard Graf-Martinez: Books. (Schott). Gerhard Graf-Martinez is a passionate flamenco guitarist and teacher. The wealth of his knowledge is captured in this two-volume work, which also. I recommend you the following resources Flamenco Guitar Method Volume 1: Book/CD/DVD Pack (Schott) Gerhard Graf-Martinez The Keys to.

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who teaches Flamenco guitar. At the same time, it is a reference book on questions about. Flamenco in general. The two volumes contain all aspects I consider. Steve Marsh reviews “Essential Flamenco Guitar: Volume 1”. This book follows on in a seemingly ever-increasing line of flamenco-based. Flamenco guitar method vol 1 + 2 by Gerhard Graf-Martinez, incl. CD-Audio, standard notation and tablature.

I have bought so many materials about Flamenco guitar and they are so boring. Our ensemble plays 'La Morita' all the time. Its one of our favorites. Book opinion - Posted by: Behzad - Date: Wednesday, March 24, I second that about the Graf-Martinez. Have not bought them yet , but have looked through them, and they seem very good.

And this is coming from me, the person who has a great ahtred towards method books! I third that opinion on the Graf Martinez books they are excellent and he explains everything acurately. I also just finished downloading volume 2 and will be ordering the gipsy guitar by the end of this month, Zurdo, where can I download the DVD's of his method??

Or has he had them out yet?? I recommend Graf Martinez over any other method books. Thanks to my friend Zurdo. Self study - Posted by: Tuesday, March 2, I would like to know how I can get the gerhard graf- martinez Flamenco guitar method volume 2.

Thanks to Zurdo, I bought the vol.

I have checked out Flamenco connection and site. El Zurdo - Date: This method is good eh. I'm really happy with it. Check out the sample of the methods on DVD.

Why don't you send Mr. Graf an email. I'm sure he can point you to the right direction. He's very helpful.

Graf-Martinez | Flamenco Guitar Method Vol. 1 Book, CD & DVD

I believe this is his address In fact, I'm going to write and ask him when Vol. II will be out on DVD. Thanks for making available to Jan. After listening to the samples of the Graf-Martinez method on his website I got a smile on my face because I loved what I heard. This could be what I've been looking for. Graf-Martinez Flamenco Method November 11th at 2: Did you get both books? I think those method books are fantastic.

Graf-Martinez Flamenco Method November 11th at 7: Hey Andy, no I only ordered Vol. I because I didn't know what to expect. I should have and will now order Vol II. This book is excellent. Although I have most of the techniques down it was a great refresher. The material is more "flamenco" compared to xxxx books.

His are good too but I am much more pleased with the way Graf-Martinez explains things.

Good choice! The materials in there are very practical for developing the rhythmic feel for the 8 and 12 count compas. Listen as closely as possible to the recorded examples, there are nuances that are sometimes impossible to put in notation. Graf does a good job of making sure these come through.

Volume 2 is a little more advanced and interesting, but I suggest to make sure you have the materials in Volume 1 well under your fingers before you jump to that one.

It will be worth the time spent. Hi Eddie. Your right. I'm not planning on starting two until I can do Vol. I in my sleep. After I finish the xxxxx books I would play what I learned but something was missing.

I don't know what it was. Grafs are different. More authentic, more flavor. Good stuff. Graf-Martinez Flamenco Method November 11th at Wait til you see Vol 2. It is chocked full of good performance material and very practical material.

I esp love his tarantos and alegrias variations.

Graf-Martinez Flamenco Method November 12th at 6: I love teaching guitar so I'm always on the lookout for materials that are practical and effective. With so many books and videos out on the market, it is easy these days for a student to end up spending a lot of money and still not have the right materials.

I have just about everything that's ever been published in the last 50 years. Some are excellent and some are not so good. Most flamenco guitar books have been geared towards solo guitar playing. Graf's books seem to be geared more towards developing accompaniment skills, though it never mentions that anywhere in the books. But it's evident as soon as you listen to the recorded examples. I think the bulerias explanations in Vol 1 are about the most comprehensive I've seen in print.

Vol 2 has an excellent section on describing the palos, even some of the obscure ones. There's a lot of information packed in these 2 volumes. Graf really did his homework before he wrote these books so there's no need for me to develop yet another method. Why reinvent the wheel? Graf-Martinez Flamenco Method November 12th at 7: I'm still waiting for Vol. I have Vol 1 and agree with everyone, that Graf-Martinez does a good job. His examples capture the Flamenco Aire. You mentioned that he covers Bulerias in Vol 1, but I cannot find it?

Graf-Martinez Flamenco Method December 28th at I have them in german Guitar Methods for accompanying November 11th at 3: Eddie and I were talking about the Graf-Martinez books last week.

There is lots of good dance accompaniment material in them as they present nuts and bolts rhythm variations instead of compositions.

But they don't show accompaniment of the cante. Juan Martin's teaching material September 5th at 5: I think I misunderstand you better now Michael. But I think that maybe this depends "on where you are sitting. Thanks for making available to Michael. Flamenco Guitar Technics Vol. Flamenco Guitar Method Vol. Gipsy Guitar - Rumbas flamencas. Where to download? Free Lessons. Imprint Privacy policy.

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Gipsy Guitar - Rumba flamenca - Play-Along-Album Gerhard Graf-Martinez has devoted the present volume, at the request of many of his readers, especially to the Hispano-American aspect of the flamenco, the Rumba Flamenca.

Professional music typographie 2 Audio-CDs All titels in normal and slow version 3 version of every title: Look inside. Gerhard Graf-Martinez. Hi Mr. Keep me updated about new DVDs. Rob Batista. My name is Litsa, and I have been studying Flamenco for two years Hello Gerhard, I arose recently your Flamenco book. Huseyin Sipahioglu - Turkey. Hello Gerhard.

Hasta la vista Gerhard Graf-Martinez is a passionate Flamenco guitarist and teacher. This two-volume method contains both his extensive inside-knowledge - acquired from his intense and friendly co-operation with "gitanos" and "maestros" - and the valuable experience of his long-standing teaching activitiy at national and international seminars and workshops.

This guitar method is for everyone who is interested in the Flamenco guitar and its techniques. The logically structured method may serve as a guideline for everyone who has not found the right teacher or teaching materials yet, for everyone who plays Flamenco guitar, but still has questions about right hand techniques, and for everyone who teaches Flamenco guitar.

At the same time, it is a reference book on questions about Flamenco in general.

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The two volumes contain all aspects I consider important to Flamenco guitar playing: Notation and tablature are not explained in this book because I assume that everyone knows these facts, as well as the basic techniques of the classical guitar. My many sojourns to Andalusia and my work in Madrid, as well as my friendship and acquaintance with greater and lesser Maestros, have influenced my knowledge and experience collected in this method - not forgetting my first inspiration by my long- standing friend and guitarist, Manolo Lohnes, who has contributed considerably to the development of Flamenco in Germany.

During 15 years of teaching, I have repeatedly been challenged to think about and analyse what my fingers and, above all, the fingers of the great "Maestros" were doing, and how I could pass on my experience and the things I had learned. As everyone else who teaches Flamenco, whether guitar or dance, I was "made" a teacher by my students.

Moreover, I learned a lot from countless per- formances which took place without rehearsals; in these cases, I was introduced to the dancers and singers in the dressing-room only shortly before the performance.

As a man and musician, working together and being on the road, especially with "Gitanos," has given me, being a foreign flamenco, a lot. Thanks to all this and to working with my partner and bailaora graciosa Lela de Fuenteprado, Flamenco has become what it is for me now: Flamenco is not only guitar music.

Flamenco is a very emotional, yet rigid form of art and an attitude about life. Flamenco means spontaneity and improvisation in music and in life: This might be the reason why Flamenco is one of the most elemental forms of music making and dancing which exists strongly from listening to oneself.

However, this method can at best serve only as the grammar and vocabulary of the Flamenco language. You should learn the subtleties and wealth of this language where it is spoken. Since this is not always possible, you should at least have a good look at Flamenco music, i. As there have been virtually no pedagogically trained Flamenco teachers to this day, the music has always only been passed on orally.

Only recently have people begun to transcribe it. Moreover, Flamenco was never composed, either. If there are arrangements, they leave much room for improvisation, i. But someone did create the contents of the drawer, the falseta, some time and did learn and practise the form of the "chest of drawers," i. This guitar method is structured according to these principles.

There are no complex compositions. I deliberately refrained from combining the exercises, rhythms and va- riations, but rather adapted them to the technical requirements and levels. My aim is to motivate the student to learn those individual parts, or drawers, by heart in order to combine them freely, but without exchanging the drawers for those of a different "chest of drawers," or to apply the form of a different "chest of drawers.

It is essential to follow the explanations of the techniques and the pictures which go with them very carefully, to achieve the typical sound of the Flamenco stroke, which is the main point in this book.

If the practice pieces on the CD sound better than your own playing, it is not because of my guitar or the recording technique, but solely because of the stroke and the tone production. Listen to the examples on the CD as often as possible to get a feeling for phrasing, articulation and tone production.

I hope you enjoy this book and I wish you every success with the Flamenco guitar. The traditional posture of the Flamenco guitarist is ideal for your back and spine see picture 1. The guitar rests against the upper part of the body and is held tightly between thigh and upper arm.


Do not support the guitar at any other points. Certainly not with your left hand picture 1. Your thighs should be horizontal, your seat at knee level or, better, below your knee.

The reason for the percussive tone of a good sounding rasgueo is not the extremely low action of the strings, but because the strings are struck towards the tapa top of the guitar. The face of the index fingernail should strike the strings Only the index finger is pressed against the thumb to build up tension.

The remaining fingers may join in the movement but should never be pressed against the thumb. This gives the impression that a lot of guitarists execute the downstroke with all fingers The downstroke and upstroke with the fingers can be combined in countless ways, and there are two different kinds of rasgueos: The most important thing about the finger rasgueo is building up a short tension in the fingers and then flicking them off immediately. In the past, the 5-finger rasgueo was still in use q-a-m-i or q-a-m-i-p whereas today, the 3-finger rasgueo is most commonly used.

The less fingers are involved in playing a rasgueo, the more difficult it gets to keep the intervals between the fingers. The result should always be a definable and transparent rasgueo. Again, the thumb is placed, or rather anchored, on 6 and is bent. The basic position is the same as that of the one-finger To avoid damaging the tapa, a golpeador pickguard is glued on between the puente bridge and the boca soundhole.

Self-adhesive films are available from specialist shops if you want to retro-fit a pickguard. But always carefully consider At the beginning, it is very difficult to perform a golpe at the same time as a downstroke with the index finger, because a and i have to move in opposite directions, which is quite unfamiliar.

While i plays the strings, i. All 3-finger rasgueos are called tresillos triplets in Flamenco, erroneously including rasgueos which are not notated as triplets. One of these tresillos, the rasgueo No rasgueo is played in so many different ways as the tresillos.

On closer examination, all of them are consistent and justified. On the one hand, they were created for reasons of sound or lack of velocity and on the other hand because of physical disabilities.

Sheet Music

Many tocaors - some of them famous people - who were missing one or even two fingers of the right hand or who were paralysed, created a new rasgueo out of necessity. Also, some guitarists invented different rasgueos or fingerings to They were made of local wood which was cheaper than the precious woods from "America Latina". Not only did TORRES invent the modern guitar, but he was also the first guitar maker who began to differentiate between the Flamenco and the classical guitar.

The Flamenco guitar is much lighter than the classical guitar. That is not only because it is made of cypress wood, but also, as mentioned in Lesson 1, because the walls When playing arpegio arpeggio the thumb is always played apoyando, unless the Arpegio Exercises Iand II should also be practised with p-m-i-a, p-m-a-i, p-a-i-m and p-i-a-mas well as with i-p-m-a and a-p-m-i.

The traditional Flamenco tremolo is played in a quintuplet. The sequence is p-i-am-i, the thumb is again placed on the string apoyando. All finger combinations of Tremolo Exercise I should be practised for a while to make the tremolo sound nice and round. The brilliance and velocity are achieved merely by the postion of the hand.

In this technique, the thumb is always This stroke creates the typical Flamenco picado which has become a standard. Not only in toque, but also in cante and baile. Since it doesn't exist in any other kind of guitar music, colleagues from other genres often ask me how it works. And since it is mostly played very fast, it is absolutely impossible to see the sequence of strokes.

The best way of describing the sequence of strokes is as a threefold movement, which doesn't mean, however, that it has to be a triad. The development of this musical phenomenon is based on a variety of cultural influences, social tensions and the exlusion of ethnic groups such as gipsies, Jews and Moors in southern Spain.

Finding the origins of Flamenco is difficult, since there are only very few written records from past centuries. To investigate its early roots it is necessary to explore the cultural history of Andalusia and the different musical elements in Flamenco which point to its varied origins.

Thanks to this blend of different musical origins, Flamenco has become what it is today: Even flamencologists often disagree and have no choice but to rely on guesswork.

Often, the only way to form your own opinion is to decide whether to believe more in the works of one author than in those of another. There is no standard theory about Flamenco, only descriptions of different opinions After the decline of power of the West-Roman Empire from about A. However, after a short time they were driven to North Africa by the Visigoths where they established In A. The moros were allegedly The Reconquest, i.

The Reconquest began as early Here are the four most important scales in the Flamenco mode. The notes with an accidental in parentheses are only played on the basic chord the dominant. As mentioned before, the Jewish epoch began long before the Christian era. This allegation is substantiated by the fact that, in Christ's day, Jewish pilgrims called sephardim came from Spain to Jerusalem.

Sepharad the biblical term denoted The Conquista conquest was the epoch in which Spain rose to world power because of its conquest of the New World and other countries. India is the presumed country of origin of the gipsies.

Serrano | Flamenco Guitar Basic Techniques (Book + Online Audio)

However, to date, researchers have not been able to prove whether they came from the valleys of the Indus more than three thousand kilometres long or Rajasthan a state bordering Pakistan or the Hindukusch mountains. And it is not quite clear, either, why they left their Testimonials from guitarists around the world. Read what people are saying about the Flamenco guitar publications by Gerhard Graf-Martinez. Mil gracias. Asimismo, me permito dar las gracias al Sr.

My words of gratefulness would be insufficient to express all the joy and satisfaction of my readers and students who thanks to their generosity can take advantage of the best method of flamenco guitar.

Thousand thanks. Also, I allow myself to thank to Mr. Gerhard Graf-Martinez and to send my best desires to him. My name is Miguel L. My guitar ensemble plays 'La Morita' all the time. Its one of our favorite rumbas. Guten tag. Es tut mir leid, aber ich spricht nicht viel Deutsch. I am a flamenco guitarist in the United States, and I'm always looking for new ideas.

I have a lot of flamenco books, but I noticed that yours seem to have more detail, more history, and more background information than most. I am so pleased with your method. I have bought so many materials about Flamenco guitar and they are so boring, and you showed in your video what we really want to learn.

Not just rhythms and Palos however the soloing and phrases, falsetas that is not easy to see in many Flamenco guitar videos. I would like to thank you for this work and my technique has increased a lot. I currently a copy of Gipsy Guitar, book and CD!!!! I love it. I arose recently your Flamenco book. Really very madly made. You made yourself a quantity of work and are well understandable the examples also for beginners.I really like it.

The educational objective is that your Rasgueo sounds like beady raindrops and not like a noisy waterfall. Not only did TORRES invent the modern guitar, but he was also the first guitar maker who began to differentiate between the Flamenco and the classical guitar.

How does one get the strokes to be so even that they sound like a waterfall of sound? I also recommend the author's flamenco metronome, available at his website. It systematically covers everything you need to know, in great depth.

There is no standard theory about Flamenco, only descriptions of different opinions Thanks very much,. I also wanted to express to you my sincerest gratitude.

SIMON from Birmingham
Also read my other posts. I am highly influenced by surf fishing. I relish reading books frightfully.