Phoenix, Valdemar
June 2006
Soundboard;2006, Vol. 31 Issue 4, p37
Academic Journal
The article explores some of the major differences between the minds of a classical guitarist and a flamenco guitarist. Flamenco's origin is Indo-European, Middle Eastern and Mediterranean and this reflects its relationship to the music of North Africa, the Middle East and the Indian subcontinent. The history of classical guitar music is based around composers and performers in the employment of nobility in Europe.


Related Articles

  • Flamenco 'Hymns' travel fast and furious journey. Spencer, Matthew // Nebraska Life;Jul/Aug2014, Vol. 18 Issue 4, p63 

    The article features Daniel Martinez, a flamenco guitarist and a professor in guitar at Union College in Lincoln, Nebraska. Topics covered include Martinez's academic and musical journey from his homeland in Peru, the release of the album "Hymns In Flamenco Guitar" which include the songs "Be...

  • TOWARDS A BIOGRAPHY OF DILERMANDO REIS. Jerome, David // Soundboard;2005, Vol. 31 Issue 1, p13 

    The article summarizes part of a research on Dilermando Reis and the Brazilian guitar. Reis was born in 1916 in Guaratinguetá, Sao Paulo. Reis was influenced by his father Chico, who introduced him to the guitar. He went to Rio de Janeiro and became a teacher in the 1930. Starting 1936, he...

  • WORKING ON DIFFICULT PASSAGES (PART II). Vieaux, Jason // Soundboard;2009, Vol. 35 Issue 2, p41 

    The article offers advice on working on difficult passages of guitar pieces. It cites the advantages of identifying pivot notes which are the essential notes in complex passages that function as the last note of one tough grouping. It emphasizes the need for guitarists to practice the tougher...

  • MICHAEL HEDGES. Demasi, Vincent // Guitar Player;Nov2006, Vol. 40 Issue 11, p50 

    The article profiles Michael Hedges, the steel-string acoustic contender of the talents of guitarist Jimi Hendrix.

  • FUNK AND STUFF. Burrows, Terry // Total Electric Guitar Tutor;2006, p126 

    The article discusses the role of rhythm guitar in the context of a 1970s-style funk backing. It claims that in a band with two guitarists, one will be manning the lead work, while the other will provide rhythm. Lead and rhythm guitar are being considered as interwoven skills that guitarists...

  • OCTAVIANO YÁÑEZ. Kohl, Randall // Soundboard;2011, Vol. 37 Issue 3, p24 

    An essay is presented on the life and works of Veracruz guitarist Octaviano Yáñez. It tries to recognize the important place that Yáñez deserves in the history of guitar music in Mexico. It relates some of his music performances and contributions to the industry. It explores several...

  • INTRODUCE YOURSELF.  // Bass Player;Jun2005, Vol. 16 Issue 6, p21 

    Profiles two bass guitarists. Identification of the guitarists; Reason for playing bass guitar; Realization that changed their playing; Information on how anyone can hear their music.

  • THE SUZUKI GUITAR EXPERIENCE. Roberts, MaryLou; Gendron, Mychal // Soundboard;2011, Vol. 37 Issue 3, p42 

    The article explores the Suzuki Method, an early childhood approach to teaching music originally developed by Dr. Shinichi Suzuki in the second half of the twentieth century. It recounts the history of the Suzuki Method, as well as the history of the Suzuki guitar development from North and...

  • Takin' Care of the Business. Thompson, Art // Guitar Player;Nov2006, Vol. 40 Issue 11, p64 

    The article presents an interview with guitarist George Thorogood. He was asked on how he came up with guitar solos. Thorogood also shared on how the Gibson ES-125 became a signature instrument for him. In addition, he related how he got his very thick distortion sound.


Read the Article


Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics