<< Previous

How should pupils use your manuals, studies and methods to make the most of them?

At all times I've used division according to difficulty level in each of the publications, from those devoted to the typical styles of the genres to technical studies of the instrument, going on to harmony studies, recently published with the title ‘Armonía del Flamenco’ (‘Flamenco Harmony’).

In your own words, explain the contents and aims of the following works:

	Manuel Granados

‘Didactic Manual of Flamenco Guitar’

It includes the typical styles of the genre. In the case of specific metrical structures, cyclical passages are always presented divided by level of difficulty, the idea being for the pupil to interiorize and absorb not only their structure, but also to understand every melodic-harmonic aspect characterizing them. And in the case of free styles, some passages are presented as variation, which just like in the previous case absorb melodic-harmonic aspects. And in each case always displaying different characteristic finishing touches which can either kick off the cante or serve as a bridge between one variation and another, or as the work's conclusion.

‘Musical Theory of Flamenco Guitar’

This work, now published recently with the title ‘Armonía del Flamenco’ (‘Flamenco Harmony’), has been improved and tremendously enlarged. I've divided it into two sections: Traditional Harmony (where the styles of alegrías, farruca, guajira... are shaped up), Flamenco Mode (where the genre's main styles are shaped up: soleá, siguiriyas...), exercises for the development of progressions and understanding of the Mode's functions, their answer key and auditions. A complete vision is therefore given of the melodic-harmonic aspects shaping up traditional flamenco, very novel information in our genre.

‘Technical Study of Flamenco Guitar’

In this work, the technical aspects typical of the genre appear separated for their study, with each of the main technical combinations they consist of standing out. I propose an always ascending line of difficulty with the aim of creating work discipline where both hands acquire the greatest possible security, balance and independence, finally culminating in a series of studies where the previously-studied main combinations are at work. This volume is dedicated to the elementary and intermediate levels, and the studies are especially aimed at shaping up a high level in the technical range of arpeggios.

From your teaching experience, what do you deduce are the main difficulties that a beginning flamenco guitar student comes across?

The first thing is the dignity of the instructor, which unfortunately, generally leaves a lot to be desired. The student's disappointment is determined by the scant involvement of the maestro in his role as a teacher. The rest depends on the pupil's capacity and assimilation. Generally speaking, he responds well if what he's offered is coherent and of quality.

Do you recommend retraining and permanent training to guitarists who have already acquired a given level?

Of course, as well as retraining for professionals devoted to teaching in each of the genre's areas.

	"The student's disappointment is determined by the scant involvement of the maestro in his role as a teacher"

What shortcomings do you find in the teaching of flamenco music?

Really, all the complementary aspects to the mere fact of studying the instrument. The integral education of the future concert professional, accompanist or pedagogue is very important. The studies of flamenco history, the genre's own harmony, forms, composing... enrich and prepare the future professional to have criteria and creative independence.

Do you think all flamenco guitar professionals are capable of teaching?

Absolutely not, but not just in flamenco guitar; nor in any another instrument in any other genre. Pedagogy is teaching; implicit within it is full dedication to studying the needs of each and every pupil, quite different in each case. A good professional isn't necessarily a good instructor.

Why do you think Spain's public institutions have taken so long to regulate and recognize flamenco teaching?

In part, due to the great many stereotypes which have built up relating to the teaching of the flamenco musical genre. Surprisingly, today we go on perpetuating them in the mouths of great flamenco guitar professionals with unfortunate comments on the way to pass on knowledge. With such outrageous comments and the obvious incapacity to normalize now basic aspects of the genre by the considered maestros of the previous generation, I understand that it's been hard to reach a consensus on a minimum number of ideas to arrange them. On the other hand, I'll say that the regulation and recognition of these studies require extensive restructuring, since they've been done in a not very serious, improvised way. That's where my interest has come in over nearly two decades to methodologically formulate all the shortcomings of the instrument's studies without going into purely commercial atmospheres and thus make their guaranteed inclusion possible in the near future: as founder and director, first of the Flamenco Guitar Lecture Hall of Barcelona and later on, from 1992 to present, at the Superior School of Flamenco Guitar of the Superior Music Conservatory of the Liceo (Opera Theater).

<< Previous

revista@flamenco-world.com