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Spanish flamenco guitarists (56 P) Pages in category "Flamenco guitarists" The following 41 pages are in this category, out of 41 total.
Flamenco guitarist Paco de Lucía. Flamenco is played somewhat differently from classical guitar. Players use different posture, strumming patterns, and techniques. Flamenco guitarists are known as tocaores (from an Andalusian pronunciation of tocadores, "players") and the flamenco guitar technique is known as toque.
He was the nephew of renowned flamenco guitarist Ramón Montoya. He first learned from his mother, "la Tula", and then from a neighboring barber, Pepe el Barbero, i.e. Pepe the Barber. After one year Montoya had completed what Pepe was able to teach him. Carlos left to learn what he could from other flamenco guitarists of the time.
Michael Laucke (/ ˈ l ɑː k /; 29 January 1947 – 2 December 2021) was a Canadian classical, new flamenco and flamenco guitarist and composer. Starting at the age of thirteen, Laucke gave professional snooker demonstrations and his winnings allowed him to take trips from Montreal to New York City to study the classical guitar with Rolando Valdés-Blain.
Roni Benisek, best known as Benise, is an American guitarist who describes his style as "Spanish guitar" or "nouveau flamenco." After growing up in Ravenna, Nebraska, Benise moved to Los Angeles, California, to pursue rock stardom. After hearing flamenco music on the radio, he switched from electric guitar to nylon-stringed classical guitar. [1]
Pepe Romero was born in Spain, the second son of celebrated guitarist and composer Celedonio Romero, who was his only guitar teacher.His first professional appearance was in a shared concert with his father at the Teatro Lope de Vega, Seville, when Pepe was only seven years old, [1] [2] playing a gavotte by Bach and Sevilla by Albéniz. [3]
Garcia's performances incorporate flamenco styles that range from free-flowing Alegrías and tangos to the emotive tientos and soleas. [4] Talking of a 2009 performance with Spanish guitarist Eduardo Niebla and India tabla-player Dharmesh Parmar, a critic noted that he contributed Arabic influences to the performances. [5]