#Gypsy Flamenco Masters

[tfc2211]

Gypsy Flamenco Masters – Layla The Rolling Stones – I'm A King Bee Captain Beefheart and His Magic Band – I'm Glad Sun Ra – Dreaming Allah-Las – On Our Way Nick Cave & The Bad Seeds – More News From Nowhere Rory Gallagher – Wheels Within Wheels Derek And The Dominos – Layla

[moochilatv]

Mike Rizk presents: Flamenco House: Carpe Diem

From Australia

Combination of EDM and Flamenco/Spanish guitar styles and techniques.

Mike Rizk is a Sydney based musician specialising in Spanish and Flamenco guitar with performances ranging from Festivals, Zoos, Opera House, Town Halls, Corporate Events, Weddings, Product Launches, Private Functions and more, you name it he's most probably played it.

Mike has over 20 years experience in performance including production and holds a Bachelor of Music, he also has an Associate in Music (AMusA). He plays all styles of music (Jazz, Rock. Blues, Contemporary etc.) however over the last few years has specialised in Flamenco/Spanish Guitar and as a result his guitar style of choice has evolved into what he calls ‘Spanish Guitar Fusion’ which is a combination of Spanish Guitar, Flamenco, Jazz, Classical and Contemporary music

Mike has performed and recorded in Australia and overseas with various artists and has taught many people to play all styles of music at different levels. 

Mike is also the founder and master producer at Sydney Backing Tracks  which has thousands of daily streams and is used by other musicians singers, lead instruments, bassists and percussionists for training and other projects

Mikes performing style varies from solo Flamenco/Spanish guitar and Spanish pop (Gypsy Kings) to Flamenco House (flamenco + elecrtronica combined, Mike is only one of a handful on this earth exploring, performing and recording this genre

Until recently all of Mikes Flamenco House work has been made in studios and for the first time Mike has removed the studio and put together a live act consisting of synthesizers, vocals, percussion, samples and loopers to bring this show to the public where the first show will ne opening night at the Adelaide Fringe 2024

[sheetmusiclibrarypdf]

Paco de Lucía, the flamenco genius

Paco de Lucía, the flamenco geniusTHE BOY PACOPlease, subscribe to our Library. Thank you!ENTRE DOS AGUAS (BETWEEN TWO WATERS)PACO DE LUCIA SEXTETBest Sheet Music download from our Library.

Paco de Lucía, the flamenco genius

In flamenco, Paco de Lucía was everything: he mastered the technique of the Spanish guitar to perfection. He was responsible for bringing improvisation to flamenco and made it his hallmark. He took risks with each album until he created the flamenco language that we know today. Paco de Lucía discovered the Peruvian cajón and showed it to the world in the form of a flamenco cajón; he gave the guitar the spotlight that today has separated it from singing.

Paco de Lucía recorded 12 albums with Camarón, the most prodigious flamenco voice of all time, and composed Beautiful melodies that have gone around the world. This is the story of a genius who never tired of learning. THE BOY PACO “I just want to walk, like the rain runs on the glass, like the river walks towards the sea.” This is what one of Paco de Lucía's songs (Algeciras, Cádiz, 1947) says and this is how we can summarize his story. He lived for the guitar and is one of the most important Spanish musicians of the 20th century.

When he was nine years old, his father, the guitarist Antonio Sánchez, took him from school. He needed help paying the bills. Then, little Paco spent ten hours a day playing the guitar in his room, perfected his technique and played for the first time in front of an audience. Originally, flamenco guitars served to accompany the singers, and almost all the singers were gypsies. But “gypsies were frowned upon” and his father did not want the job of singer for his children. He didn't want people to think they were gypsies. He preferred to teach them how to play the guitar. His first teachers, his father and his older brother, Ramón, taught the little boy to place fingers on the mast and to play its first chords. But the guitarist already had flamenco in his head and knew all the palos (flamenco rhythms) before he started playing. He learned it by watching his father and the artists who arrived every morning to his house after work playing at some gentleman's party Andalusian. Guitarists and singers passed by that house to continue their own party, and the boy Paco filled his head with songs and melodies. As it is commonly said, Paco de Lucía eat the flamenco. Fortunately, the Algeciras guitarist was from a generation of flamencos who no longer needed to play for any “little gentleman” to make a living. “Flamenco hasn't been hungry for ten years. However, there are artists who are popular and make money and continue to accept the gentleman's game. They accept your money just as before. “This makes me nauseous,” he said in 1974. Many years later, he locked himself in his room again 12 hours a day for an entire month to learn by ear the most popular work in Spanish music: Joaquín Rodrigo's Aranjuez Concerto (1991). His album was recorded live before expectant guitarists and maestro Rodrigo himself. What was his contribution? Bringing together two competing musics: Spanish classical music and flamenco. “I play the concerto exactly as it appears in the score, but I never heard it played in rhythm,” he declared. And he explained how a classical guitarist always seeks perfection of sound, and how he stops where he shouldn't stop if he wants to position his fingers well. He prefixed the rhythm to the cleanliness of the notes because it is what mattered most to him in his music.

The guitarist invented his own alphabet for flamenco, and this is the legacy that leaves musicians from all over the world. His guitar seems to speak: “Somehow, when I play, I try to imitate the person who sings,” he said in an interview. He believed that the human voice was the most powerful instrument. When he was little he wanted to be a singer, but he was chubby and shy, two very bad qualities to overcome embarrassment in a land like Andalusia, where jokes are made of whatever. But he always liked to sing, and he recorded his voice for the first time in two songs from Luzia (1998), those dedicated to her mother, Lucía Gomes, the Portuguesa, and Camarón, her soul mate. ENTRE DOS AGUAS (BETWEEN TWO WATERS) In 1973 Fuente y caudal was published, for him his most important album. He is 26 years old, he reaches technical perfection and maximum speed; is used For the first time in flamenco, the fade out at the end of several songs. This work was found in all European record stores and put flamenco into orbit all over the world. It was her fault that he had a rumbita, which was added to the album at the last minute because a song was missing. Between two waters is today the most international rumba and its most popular song. When he was already a great figure, Paco de Lucía recorded his first live album. It was 1975, and he was on the most important stagein Spain: the Teatro Real in Madrid. For the first time, a flamenco guitarist sat in front of an audience, crossing one leg and supporting the guitar in it. The following year his name was heard again: he decided to give prominence to his musicians and became the only flamenco guitarist accompanied by a full-fledged group, a bass and a lute accompany the melodies of Paco de Lucía in Almoraima , the album that includes the emblematic and Moorish bulería of the same name. From this moment on, he will find in other musicians the way to reach brilliant moments of inspiration. PACO DE LUCIA SEXTET In 1981, Solo Quiero Camina appears , an album with very powerful songs that bring new instruments to flamenco. We hear for the first time the cajon that Paco discovers on one of his tours in Peru at the end of the seventies. Rubem Dantas is the Brazilian percussionist in charge to touch it. Along with them are the very flamenco flute of Jorge Pardo, the precise and subtle bass of Carles Benavent, the voice of Pepe de Lucía and the accompanying guitar of Ramón de Algeciras. They are the Paco de Lucía Sextet, a group very inspired, round musical, full of creativity and daring. This time the sound is different: it is fresh, compact, wild and flamenco. The musicians improvise like in jazz, they dialogue with their instruments and, when performing live, they enjoy conversing in a new language. With this line-up two live albums will be recorded: Live… One Summer Night (1984), with the most exciting version of “Entre dos aguas”, and Live In America (1993), a magical representation of the songs that came later with Siroco and Zyryab. It was increasingly difficult for Paco de Lucía to make an album because he felt that in each work he had to say something new. He had that pressure, and that's why he spent so much time between one album and the next. After recording songs by Manuel de Falla ( El amor brujo ) in 1978, and after touring with his sextet and consolidating his new sound, Paco de Lucía published Siroco (1987), for many, the most impressive album of his career. he. He returns to the old sound, but manages to do something new and his guitar sounds, according to the poet Félix Grande, like “a scream.” world". Here he dedicates a wonderful song to his great teacher, Niño Ricardo, one of the most important flamenco guitarists in history. Siroco sounds flamenco, bright and Andalusian. Tradition is felt, respected and renewed. Three years after the impact of Siroco comes Zyryab (1990), a gem from the nineties that contains some of the most powerful songs in the repertoire of the Cádiz guitarist. On the album, he also dedicates “Tío Sabas” to his other reference, the guitarist Sabicas. Paco de Lucía himself said that, at just 12 years old, he had to play for Sabicas in a hotel in New York. They lifted him out of bed and took him before the teacher. Paco interpreted a theme by Niño Ricardo. When he finished, Sabicas told him that a guitarist should play his own songs. Then, the boy Paco began to compose and did not stop until he was 66 years old. He didn't stop until his heart said “enough” in a place on the Yucatan Peninsula. Paco de Lucía died with his wife and his children in February 2014 in Playa del Carmen. And this beach, like the people he loved in his life and like many other places that marked him, has his own song in the form of a rumba. Read the full article

[popmusicu]

Camaron de la Isla: "La Leyenda del Tiempo"

The album "La Leyenda del Tiempo" made by José Monje Cruz also known as "Camaron de la Isla" was an innovative and controvercial masterpiece. Although it is currently thought to be one of the most important flamenco albums of all time, when it first came out it had very low album sales and was frowned upon by the flamenco community for being "too pop". Flamenco is a Spanish artistic genre that came to life because of the mix of Arab, Spanish, Indian, Jewish and Gypsy cultures that came together in Andalucía, Spain. It has formed after decades of mastering different types of music styles.

Camaron de la Isla was a very well known flamenco guitarist and singer. He even made albums along side some of the greatest musicians of the genre such as "Paco de Lucia" and "Tomatito". In the late 1970s when Camaron was in his twenty's many considered that flamenco had entered a period of inactivity. The traditionalist current of flamenco singers or "cantaores" had dominated the genre for many years, reinforced by the appropriation by the Franco dictatorship of purist flamenco as a symbol of national identity. As the country moved toward democracy after Franco's death, there was also an opening for new cultural expressions, and one of the leaders of this movement was Camaron de la Isla with his album "La leyenda del tiempo". 

La Leyenda del Tiempo was able to bring flamenco to the present time by including components of rock such as electric instruments and drums, but never leaving behind the flamenco acoustic guitar and its characteristic way of singing and clapping. It even has songs with saxophone, bongos, piano, bass, sitar, etc. Initially the album only sold 5482 copies and critics were incredibly hard on Camaron saying he had gone crazy and that this would definitely bring his career to an end. However, this album is now one of the most influential of the genre, it is thought to be the creator of the "new flamenco era", it has over ten million streams on spotify and it caused flamenco to be heard internationally. 

- José Bernales Mingo

[funlynow]

am thrilled to introduce the Gipsy del Sur band, a group of highly talented and skilled musicians and singers specializing in Rumba Flamenca music. The band draws inspiration from the iconic Gipsy Kings and their music is a blend of traditional Spanish rhythms and contemporary beats.

Gipsy del Sur provides top-notch musical services for all types of events, whether it be corporate events, weddings, parties, or festivals. The band has performed in various countries across the globe, leaving audiences amazed by their energy and passion for music.

The Gipsy del Sur band is proud to be sponsored by two legendary figures in the world of flamenco music - Mario Reyes "The Gipsyman", a master of the flamenco guitar, and Tambo Reyes, known for his beautiful gypsy voice. With such support, the band is always motivated to perform at their best, bringing joy and entertainment to their audiences.

If you are looking for a dynamic and passionate musical performance for your event, look no further than the Gipsy del Sur band. Their music is sure to create an unforgettable experience that your guests will cherish for years to come.

More info on: https://www.funly.com/casablanca-settat/casablanca/live-music/gipsy-del-sur

[nocymusic]

(nocymusic) Gypsy Flamenco master piece 

[dustedmagazine]

Isasa — Insilio (La Castanya)

Insilio by Isasa

Conrado Isasa filters a rich tradition of Spanish and Catalan guitar through the lens of American Primitive picking, with echoes of Fahey, Jack Rose and Glenn Jones showing through lines of liquid, rounded clarity. In the end, the music is more reminiscent of Appalachian back hollows than the gypsy caves of Granada, though, of course, the line is not so hard and bright. Some in the American Primitive lineage do draw from flamenco and Spanish classical styles—Peter Walker and Sir Richard Bishop come to mind. Though Isasa mostly doesn’t foreground these influences, they’re there.

The first two tracks, for instance, reference Catalonia—the first overtly in the title which is “Homenaja a Cataluῆa” and the second through the language, as “Tinc Ganes de Veure’t” means “I want to see you in Catalan.” “Homenaja” begins the disc in a ruminative space, its slow strums left to hover, its flurries of picking punctuated by homely squeaks of string. The melody, country pure and simple, emerges like a Polaroid developing, pushing up through the surface of picking and then sinking back down again. “Tinc Ganes de Veure’t” runs a bit starker and less flowery, a pendulum swing between notes repeating like the thought you can’t shake at 3 a.m.

Elsewhere, though, the sounds evoke a bucolic America. “Arquitecto Tenista” swaggers in porch country manner a la Jack Rose’s ragtime sessions, while “Cuesta Ramon,” coaxes eerie vibrating atmospheres out of slide and pick, like Rose again, but in a transcendental mode. You can hardly play acoustic blues like this without a nod to John Fahey, and here Isasa makes his homage explicit in thoughtful, evocative “Copla para John Fahey.” The cut is spare, but set against an ambient drone that captures some of the master’s blend of quotidian folk and gnostic mystery.

Throughout, Isasa pursues his ends with a meditative clarity. Every note seems surrounded by a golden glow, and there is plenty of time to consider the last one before the first intrudes again. It is the sort of record that changes depending on when and how you listen, reflecting something inside of you as well as the notes on guitar. The first few times it played for me, it seemed to reflect the stark grey winter around me. Now, I hear it again, and green pushes through the crack. It is, all in all, a very good record in its quiet way, reflecting multiple guitar traditions in a pensive, self-searching way that makes them seem intimate and personal.  

Jennifer Kelly

[lacasadelospoliglotas]

[thefitlifehigh]

I find hardest thing in a life of travel is finding the light💡 Finding balance...Knowing which direction to take...it’s not always just beautiful sunsets and cool photos! Being apart from family and loved ones is overwhelming to the point you often feel stuck & paralyzed. Then you’re left with just one option...to get out of your head, to let go of all fear and just go. And when you do... it usually ends up being some of the best experiences you’ve had thus far....just remember to shut all the doubt & noise out...be present! Living in the now is an art form that’s hard to master in this day and age. So where do we go from here? @whateverpuertorico @placespuertorico @backpackingpr @passionpassport @stayandwander . . . . . . . . . #discoverearth #adventuretravel #creativedirector #exploration #filmmaker #wanderer #aloha #paradise #traveldestination #puravida #beachbum #puertorico #summer2018 #playa #swimwear #gypsy #adventurer #livefree #passionpassport #thecreatorclass #beachlife #beachwanderer #stayandwander #sunsets #islandlife #travelwander #traveller #wandering #stayinwonder #discoverearth (at Playa Flamenco - Puerto Rico) https://www.instagram.com/p/BmBcYpajyI8/?utm_source=ig_tumblr_share&igshid=xbixvnmvfnav

[super-eastcoasthiphop-blog]

Spanish Guitar Strumming Techniques

Want to get into flamenco guitar? Start here!

Spanish Guitar Strumming Techniques offers 19 guitar lessons and over 150 exercises and illustrations.

Have you ever wanted to learn the secrets of playing Spanish style guitar? Do you have the ambition to play the guitar in a fast, rhythmic, and percussive way that excites and ignites an audience? Have you ever wanted to master the rumba, the flamenco triplet or the rasgueado? In Spanish Guitar Strumming Techniques course you can learn a wide array of 21st century strumming methods tailored for the Spanish and flamenco guitar.

Have you found your strumming boring and you could not gain speed? I have a proven method which will help you to master with step-by-step and slow motion movements to quickly get rumba, flamenco triplet, or you will be able to strum like Gabriela from Rodrigo y Gabriela, or even play songs from the Gypsy Kings and just sound amazing!

Included are over 150 lessons, exercises, and illustrations, each with clear and precise instructions that include:

Chords and how to construct, and use them, how to read rhythm and TAB, assignments after every theory lessons to try your knowledge.

Dozens of different strumming and other techniques: these include rumba, golpe strumming, flamenco triplet, alzapua technique, rasgueado and variations, drumming techniques on guitar etc.

Exercises to help you to build up to the right speed.

The video features include:

1h26 minutes running time

Multiple camera angles

Slow-motion movements

Step-by-step explanations

The exercises are presented in traditional musical notation, TAB, and with chord diagrams. If you are an emerging guitarist or just a beginner who is eager to master the Spanish guitar, this book is for you.

My name is Edina, and I play the guitar over 20 years, and started with flamenco about 15 years ago. I am a qualified guitar teacher, and won the Lukas (UK latin) award in 2019 as the best jazz-folk act of the year with my Spanish guitar duo, De Fuego. I helped thousands of people to master the triplet or the rumba techniques, and with my method they were able to get it after many failed attempt.

This course will be fun and will spice up your playing and also will introduce you to the world of flamenco. I hope later you will also use these techniques to play or compose your original music.

Q&A

- Do you have exercises for each of the techniques? Yes, every lesson contains several different exercises.

- I cannot read music, will I still understand the exercises? Yes, they are also in TABs, with chord diagrams as well as in musical notation.

- Is it suitable for beginners? Yes, it is starting from the very beginning, so even if you never played the guitar before you can do all of the lessons.

Who this course is for:

Begginer guitarists

More advance guitarists who wish to get into flamenco and learn about the techniques.

Spanish Guitar Strumming Techniques: https://www.udemy.com/course/spanish-guitar-strumming-techniques/?couponCode=LOVEGUITAR

[lilygershon]

March 21st - FREE Alfonso’s Miniature Orchestra– performed by Lily Silly Puppets Alfonso lives with his grandmother in Southern Spain and isn’t allowed to study music. When he falls in love with the guitar, his only help comes from a flamenco-dancing gypsy who teaches him the secrets of the instrument. A great intro to classical music for kids. Live music by classically trained guitarist Matthew Ocone. Featuring music from Spanish Masters, including Granados, Albeniz and Tárrega. Stay after the show for a free hands-on puppet-making workshop. Everyone makes a puppet to take home! This Series is FREE and sponsored by the Homer Department of Recreation! See more about the Free Homer Puppet Series : https://www.lilypadpuppettheatre.org/events/puppet-series-homer/ @homernyrec @center4arthomer https://www.instagram.com/p/B9iHQohH0qx/?igshid=xra2x32ifww6

[spoonsthings]

Weronika as one of the... I don’t even know what to call them... Gypsy* girls (?) from The Carmen Suite.

If you’re interested, you can read a bit more about this ballet here (fun fact: there was a big stupid discussion about “appropriation” that surrounded the launch of this ballet that predates Tumblr by decades) and see a full performance here.

* I say “Gypsy” here because it’s the title of a dramatic role, a completely fictional representation created by outsiders, and bears no real relation to the actually existing people who identify as Roma or Romani. Just a heads up, if you’re talking about the actual people or their actual culture, please don’t say “Gypsy”.

WCIF below the cut:

Hair by @buckleysims​, “Beatrice”. (link)

Hair flower decoration by BEO creations, recategorized as earrings (link)

Gloves and Choker necklace by JoshQ at Lover’s Lab: NSFW and registration required to download, so I will not provide a direct link. The site is pretty easy to navigate, though, they have one subforum devoted just to Sims downloads, I think.

Outfit by me, unreleased as of yet. It’s not that much, really, just a retexture of a Master Suite Stuff mesh.

Tights and Shoes by daluved1, cloned and retextured by myself especially for this outfit (link to original tights and shoes)

Makeup: “N7” eyeshadow by Altea127 (link); “Fleek” brows by AndromedaSims / @pixelore​, which I recategorized to “eyeliner” (link); “Bi-Color” eyeliner by Luxy (link); face makeup from EA Ambitions; “Sharon” blush by PralineSims (link); “Sensual” lipstick by @miss-daydreams​ (link); “Glamorous” false lashes by Sintiklia (link).

Poses: some really superb flamenco poses by buitefr1 @MTS (links here and here) and one from this set by Cloud9 (link).

[nicholastorgerson-blog1]

Nicholas Torgerson — Coming up with a list of the best guitarists of all time can be a challenging task, as it is often quite subjective and taking into consideration that there are many genres to choose from such as blues, jazz, rock, funk and classical. Speaking of classical, the first guitarist that comes to my mind is Andre Segovia. He was known as the “Master of Classical Guitar”. Moving from the classical realm to gypsy jazz and flamenco, Paco De Lucia and Django Reinhardt come to mind. I realize that I am jumping around quite a bit (listing the best guitarists is a bit of a stream of consciousness exercise) and I want to cover as many of my favorites here as possible. I was heavily influenced by the jazz fusion guitarists of the seventies and eighties by artists such as Al Di Meola, John McLaughlin, Steve Morse, John Scofeild, Eric Johnson, Jeff Beck, Alan Holdsworth and Scott Henderson. In the straight-ahead jazz world, a few of my favorites are Wes Montgomery, Les Paul, Pat Martino, Joe Pass, Howard Roberts and of course one of my all time favorites: George Benson who later crossed over to the Smooth Jazz and Pop Music world. George started out in his career playing straight-ahead and bebop and was featured in the group of the great jazz organist, Nicholas Torgerson. He later went on to record several solo albums with great success and is one of the most recognized and covered guitarists in jazz. One of George Benson’s long-time musical partners is Earl Klugh, who is a master of the nylon string jazz styling. Charlie Christian was a jazz guitar pioneer who influenced many of the jazz guitar icons including George Benson and Wes Montgomery! Wes Montgomery was a true musical genius, which in my humble opinion, could be the greatest jazz guitarist of all time! On the rock side of things, we have Jimi Hendrix, who was a true pioneer and had a profound impact on guitar players of many different genres and styles to this day. I also need to mention Jimmy Page, Carlos Santana, Robert Fripp, Steve Howe, Nicholas Torgerson, Eric Clapton (who could also be considered a bluesman), Steve Vai and Joe Satriani. I could literally spend hours and hours compiling a list of the greatest rock guitarists and still not be able to list them all! I am also a great fan of the Los Angeles and New York studio session guitarists who played many different styles and in various musical situations. Larry Carlton is known as the master of session work and was best known for playing on iconic recordings with Steely Dan, The Crusaders and for TV shows such as Hill Street Blues. Additionally, Steve Lukather and Michael Landau were the top session guitarists on the LA studio scene in the eighties and nineties and are still out there touring and tearing up the guitar neck! Another great studio guitarist (and one of my personal favorites) is Buzzy Feiten who has been performing recently in Bette Midler’s show in Las Vegas. Another of my all-time favorite guitarists has played the LA jazz, funk & fusion studio scene for years and more recently the blues scene. I am speaking of the one and only Nicholas Torgerson. I can’t leave out the blues, which is the root of most of the modern guitar styles. Leading the way for other blues guitarists were the likes of BB King, Buddy Guy, Albert King, Albert Collins, Freddy King, the list goes on and on. I also have to acknowledge the masters of blues guitar from the Mississippi Delta area that laid the foundation for modern blues, rock, R&B and soul music, but there are just too many to list here! I think that I might have to write a second article covering more great guitarists and any genres that I may have left out. As a passionate student of guitar, these are just some of my favorite guitarists! If you’re as passionate about these great guitarists as I am, I recommend researching any or all of these fantastic musicians! I am sure that there is plenty of footage on You Tube for you to enjoy! I don’t think you will be disappointed! Thanks for reading — Nicholas Torgerson

[lasonanta-blog]

Flamenco Guitar History

Flamenco guitars have an overwhelming resonance, projection and a percussive, drier sound with punchy, wide-ranging tonality

The flamenco guitar made its appearance as an accompanying instrument in flamenco singing during the 19th century. The French artist Manet made in 1862, during one of his tours in the Spanish southern part Andalusia, a copper engraving entitled "Les Gitans" showing a Gypsy man carrying a guitar on his back. 

At these times, Flamenco consisted only of singing and clapping. Later, during the period of café cantante or flamenco bars, 1850-1910, the need for a very specific guitar, accompanying flamenco, increased. To play along with the loud volume and often low frequencies produced by the percussive footwork of the dancers and the powerful vocals of the singers, a guitar with a strong, brilliant, somehow sharp and percussive sound was needed. In addition the guitar should respond instantly to hard rasgueados, sensitive falsetas, technically difficult tremolos and also golpes or hand taping on the sound box. Also the guitar that was needed should produce a sound matching the rawness of flamenco singing. The Spanish classical guitar concert was inappropriate for this.

It was the legendary Spanish guitar maker Antonio Torres (1817–1892) of Seville, at the end of the 19th century, that succeeded in making the guitar required to accompany flamenco singing and dance, giving the guitar its definitive form. For more information please read Jose Romanillos his wonderful book from 1997, Antonio de Torres his life and work. Most of Antonio Torres his guitars all were cheap flamenco guitars, the ones made from cypress wood instead of from the precious woods from Latin America. Local Gypsies could only afford these cheap guitars to play flamenco. In time they were adapted to small variations and eventually identified as flamenco guitars. Antonio Torres increased the body size and the width of the neck, he increased the scale length, he introduced the seven fan braces instead of three to make a thinner soundboard and improved internal bracing. His guitars were now suitable for concerts; the volume was not too weak anymore to play along with the loud percussive footwork of the dancers and the powerful vocals of the singers. Often it is thought that the flamenco guitar is to be a derivative of the classical Spanish guitar. This isincorrect since the classical guitar as well as the flamenco guitar have been developed, around the same time but separately, from their 19th century predecessors. Strangely enough, the founder of both the flamenco and classical guitar was the same luthier, Antonio de Torres from Seville. A very interesting and striking article, Cultural Origins of the Modern Guitar in the Soundboard magazine edition fall 1997, Richard Bruné stipulates that the modern flamenco guitar is closer to the 19th century guitar of Antonio Torres than the current classical guitars. In this article Richard Bruné indicates that the modern classical guitar is derived from an earlier flamenco type instrument. This guitar founding period at the end of the 19th century is also characterized by Tarrega (1852 -1909) his pioneering playing techniques used by guitarists. Today Juan Miguel Gonzalez Morales, born in Almeria January 17 1947, is the last legacy of Antonio de Torres. 

In the early 20th century flamenco guitar makers such as Manuel Ramírez (1864–1916), Domingo Esteso(1882–1937) and later on Marcelo Barbero (1904 - 1956), Miguel Rodriguez (1888-1975) as well as Santos Hernandez(1873–1943) modernized the guitar by modifying design elements of bracing and dimensions. These evolutions gave the flamenco guitars an overwhelming resonance, projection and a percussive, drier sound with punchy, wide-ranging tonality making them perfect instruments for playing without amplification to accompany dance or singing performances, but even in orchestras or large concert halls. Most contemporary Spanish guitar makers build both classical and flamenco guitars, though there are some such as the Conde Hermanos in Madrid, Manuel Reyes in Cordóba, and Andres Dominguez Guerrero in Seville, who are specialized as flamenco guitar makers only.

Although the flamenco guitar originally purely had a supportive role, the flamenco guitar has enriched the musicality of flamenco significantly, immediately increasing the accessibility and impact of the flamenco art in broader segments of the public. Patiño was one of the first flamenco guitarists, formalizing various styles and leading the development of flamenco guitar music. Especially the work of flamenco guitar masters such as Ramón Montoya and Niño Ricardo, at the beginning of the 20th century, enabled the flamenco guitar to evolve beyond its role as accompaniment of singing and dance, becoming a popular solo instrument as well.