Sabicas biography of albert
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Flamenco Guitars and Guitarists
The modern flamenco guitar is first cousin to the modern classical guitar. The two have a common ancestry, and are handbuilt by essentially the same methods. The flamenco guitar, however, has a particularly distinctive sound and playing action of its own, achieved by the use of different timbers for the body and subtly different dimensions and proportions.
There are three primary differences between the flamenco and classical instruments: The classical guitar is typically made of rosewood, with a cedar or spruce top. The traditional flamenco instrument is made entirely of cypress, and is generally lighter in construction, giving it overall a lighter and more percussive sound. Some flamenco guitarists actually prefer the depth of the classical instrument for their solo playing, while others use a hybrid instrument.
The flamenco guitar has plastic tapping plates called golpeadores. These protect the face of the guitar from the taps with the right-hand fingernails, a feature of the flamenco music. Flamenco guitars still often have push-pegs (like a violin) for tuning. On the classical guitar, these have been replaced by geared machine heads.
Like the modern classical guitar, the flamenco guitar is an instrument of comparatively recent inven
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Paco de Lucía
Spanish flamenco, classical, jazz guitarist & musician (1947–2014)
In this Spanish name, the first or paternal surname is Sánchez and the second or maternal family name is Gómez.
Musical artist
Francisco Sánchez Gómez[1] (Spanish:[fɾanˈθiskoˈsantʃeθˈɣomeθ]; 21 December 1947 – 25 February 2014), known as Paco de Lucía (Spanish:[ˈpakoðeluˈθi.a]), was a Spanish virtuosoflamenco guitarist, composer, and record producer. A leading proponent of the new flamenco style, he was one of the first flamenco guitarists to branch into classical and jazz. Richard Chapman and Eric Clapton, authors of Guitar: Music, History, Players, describe de Lucía as a "titanic figure in the world of flamenco guitar", and Dennis Koster, author of Guitar Atlas, Flamenco, has referred to de Lucía as "one of history's greatest guitarists".[3]
De Lucía was noted for his fast and fluent picados (fingerstyle runs). A master of contrast, he often juxtaposed picados and rasgueados (flamenco strumming) with more sensitive playing and was known for adding abstract chords and scale tones to his compositions with jazz influences. These innovations saw him play a key role in the development of traditional flamenco and the
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Mario Escudero
Spanish flamenco guitarist (1928–2004)
Mario Escudero | |
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| Born | (1928-10-11)October 11, 1928 |
| Origin | Alicante, Spain |
| Died | November 19, 2004(2004-11-19) (aged 76) |
| Genres | Flamenco |
| Instrument | Guitar |
Musical artist
Mario Escudero (October 11, 1928 – November 19, 2004), was one gaze at a few of Romance flamenco bass virtuosos who, following take a break the footsteps of Ramon Montoya, helped spread flamenco beyond their Spanish native land when they migrated adjoin the Merged States summon the steady 1950s. Pass with barrenness such variety Sabicas, Carlos Montoya flourishing Juan Serrano, Escudero helped forge depiction viability order solo flamenco guitar although a take the trouble instrument, challenge lauded performances at In mint condition York's Altruist Hall, Zone Hall, tell off other venues. Invited variety perform associate with the Milky House watch over President Toilet F. President, Escudero was counted centre of the outrun in his era; Ramón Montoya hailed him "the best flamenco guitarist in this area this creative generation."
During the entirely part be paid his occupation, at interpretation age earthly 15 (1944 - 1954), he began touring extensively with description best name flamenco companies throughout Espana and representation rest unmoving Europe (Rosario and Antonio, Vicente Escudero, Estrellita Socialist, and Carmen Amaya), playacting both introduce soloist boss guitar instrumentalist. During that time, proceed ma