Spanish Flamenco Guitar

The Flamenco Guitar

The Flamenco Spanish Guitar has two main characteristics that distinguish it from it's"Classical cousin." Purpose and construction. The original purpose of the Flamenco guitar was, and is, to accompany dancers and singers. That's the reason it's usually made entirely from Cypress wood and constructed with a thinner body than the Classical Spanish Guitar, making it lighter and more percussive.

In other words, louder and favoring the mid range and high frequencies. Obviously today with the electrification of any guitar possible, this is not an issue. But before electrification, the Flamenco Guitar, accompanying Spanish singers and dancers needed to be able to match, if not exceed, the volume of their voices and the thundering heels of the Flamenco dance.

The Spanish Guitar

In contrast, the Classical Spanish Guitar is a quieter,"warmer sounding" instrument. Traditionally constructed with a Rosewood body, and a top of either Cedar or Spruce, it's emphasis is on the quality of tone. Not, in contrast to the Flamenco Guitar, volume. Historically, a"poor relation" of it's"Flamenco cousin." Relegated to providing background music in bars and cafes.

The Master

This sad state of affairs was changed by one man. Andres Segovia. He elevated the Classical Spanish Guitar from the bar to the concert hall. With his virtuoso renditions and adaptations of music composed originally for other instruments. The music of Bach for example. He also commissioned original music for the Classical guitar, which resulted in new and renewed interest in the instrument. Commenting on the Classical Guitar's increased popularity he observed:"The Classical Guitar is a tiny voice in a noisy world. That is why everyone is listening." Perhaps not everyone, but certainly an increased awareness and appreciation.

Flamenco meets the World

The same can be said, with a similar history, for the Spanish Flamenco Guitar. Again, it was one man who changed the conception of the Flamenco Guitar from an accompanying instrument, to a foreground one. Paco de Lucia. Although he began, naturally, with traditional Flamenco music, and, in his early career, accompanied the legendary Flamenco singer Cameron de la Isla for 8 years, Paco was, and, continues to be interested in expanding the boundaries of what is loosely referred to as"Flamenco Music." His explorations of jazz with two other great guitarists, John Mclaughlin and Al Di Meola, and the subsequent World tour and live CD("Friday night in San Francisco") have inspired Paco to incorporate jazz elements into his original music. Which Paco continues to perform and record with his current sextet.

Fueling the Flame

Now, there is a new generation of Spanish guitarists. Who, like Paco, have absorbed and incorporated other influences, while respecting their unique musical heritage. One of the most gifted and inventive of this"New Breed" is Santiago Cortez. Like Paco, his original compositions are inspired by a wide variety of musical idioms. Jazz, Rock, Pop, Reggae, Soul, Folk, etc.

No Borders

Santiago's"rainbow" of music colors is best appreciated in his aptly titled"Hybrid" CD. Here he displays an amazing range of styles, tempos and moods. Always totally original and familiar. Yet never derivative. And, equally important, Santiago's impressive technique never overpowers his exquisite gift for melodic expression. Backed by a trio of musicians who are all recording artists themselves, the great German tenor saxist Rainer Pusch, England's sax and flute star, Steve Cadd, and the legendary Spanish percussionist Pedro Delgado, Santiagos' "Hybrid" is a classic example of the exciting new direction of Spanish Flamenco Guitar.

Maya Martinez has a passion for the arts. Particularly music,photography and video.She writes for various publications sharing her knowledge and discoveries. To enjoy the music of Santiago Cortez, visit: http://soulmuse21.com.

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