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It features a flamenco guitar solo, followed by a classically influenced bridge, and then the solo again but performed with electric guitars. This section is especially complex, featuring a pattern of three bars in 5/4 time (reasonably uncommon in popular music) followed by five bars in the more often used 3/4 time.
Wrecking Crew session musician Louie Shelton contributed a flamenco-style guitar solo consisting of hammer-ons and pull-offs. The song was featured in the television show's first season in 1967; a staged performance showed Michael Nesmith apparently picking Shelton's guitar solo via cuts between Nesmith with his hands obscured and close-ups of ...
In one of these performances at the Persian Room, Escudero tripped on someone´s foot, falling on top of his guitar, smashing it beyond repair. Escudero got up, went back stage, got a replacement guitar, and returned to complete the show to a standing ovation. [35] In 1956, Escudero made four records: "Mario Escudero and his flamenco guitar" [36]
His performances helped popularize flamenco guitar music worldwide. [7] Montoya is credited with having transformed flamenco guitar music into a separate music style, beyond being a traditional dance accompaniment. [2] He adapted flamenco to other genres of music to create his own recognizable style, becoming an international star. [2]
Flamenco guitarists are known as tocaores (from an Andalusian pronunciation of tocadores, "players") and the flamenco guitar technique is known as toque. 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.
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]
Along with others such as Sabicas and Mario Escudero, Serrano's virtuosity helped establish solo flamenco guitar as a viable concert instrument beyond the borders of Spain. He developed the guitar program at California State University, Fresno and headed the guitar department until his retirement.
The Minera (flamenco style) included in the album, is probably the best Minera in history”, [15] and Norberto Torres in Historia de la Guitarra Flamenca said that “Riqueni made a real solo guitar record, without overdubs, he showed to aficionados and specially to guitar players, all his virtuous qualities as a composer and concert player ...
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