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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.
Flamenco Guitar Solos Album Details at Smithsonian Folkways; SGAE; Miguel Borrull (hijo) recordings (Biblioteca Nacional de España. Pepe Blanco "El Granate" and "Barquito de Vela" (Odeon 204151 SO 9811 / 9810, 1946), accompanied by Jesus Escudero. "Patios de la Alhambra", by Mario Escudero (played by Mario Manuel Escudero, 2011)
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.
Juan Martín is the author of several textbooks on flamenco playing, including El Arte Flamenco de la Guitarra, [11] issued with cassette tapes and later with vinyl sound sheets, and Solos Flamencos issued with CDs and DVDs. Both tutorial books, printed in English and Spanish, are successful in the English-speaking world.
After graduation, Anastassakis taught guitar technique and began giving recitals and concerts in both Greece and the United States. In 2000, in collaboration with Nakas Conservatory, he founded the first Flamenco Guitar Department in Greece In 2006 Mel Bay Publication, published "Flamenco Journal", a book/DVD of his solo Flamenco guitar compositions.
He subsequently published a collection of transcriptions of guitar solos (Guajiras, Petenera, and Malaguena) by Carlos Ramos (1967) through Charles H. Hansen Company. Freeman developed a system for teaching Flamenco guitar that differed dramatically from the traditional method in which the student learns by watching the teacher's fingerboard ...
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 ...
Modern guitarists often play soleá using other chord positions or even changing the tuning of the guitar to experiment with new sounds, especially in solo instrumental pieces. The typical flamenco progression iv, III, II, I (an altered Phrygian cadence) is heard several times during the development of the song.