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Flamenco guitar method

The world-wide successful Flamenco guitar method is finally available in English.

Flamenco guitar method by Gerhard Graf-Martinez. Volume 1 + 2 (plus CD-Audio). A complete Flamenco guitar course for teaching and private study - standard notation and tablature / tabs.

Complete explanation and exposition of all techniques of the Flamenco guitar like rasgueados, pulgar ayudado, picado, arpegio, tremolo, alzapúa. Special chapter about the Bulerías. All styles, compositions and studies are recorded on CD in original tempo and slow version.

Ref. No.: Vol. 1 - ED 9394 (incl. Audio-CD) - Vol. 2 - ED 9395 

About the author

Gerhard Graf-Martinez is a passionate Flamenco guitarist and teacher. This two-volume method contains both his extensive inside-knowledge - acquired from his intense and friendly co-operation with "gitanos" and "maestros" - and the valuable experience of his long-standing teaching activitiy at national and international seminars and workshops.


Mini Pages 1 Vol.

Mini Pages Vol. 2


This guitar method is for everyone who is interested in the Flamenco guitar and its techniques. The logically structured method may serve as a guideline for everyone who has not found the right teacher or teaching materials yet, for everyone who plays Flamenco guitar, but still has questions about right hand techniques, and for everyone who teaches Flamenco guitar. At the same time, it is a reference book on questions about Flamenco in general. The two volumes contain all aspects I consider important to Flamenco guitar playing: instrumentology, the history of Flamenco, a description of the different styles and their complicated rhythms, and a comprehensive glossary. Notation and tablature are not explained in this book because I assume that everyone knows these facts, as well as the basic techniques of the classical guitar. The tablature includes note values because I think that even tablature readers use them to orient themselves, even if it´s not done consciously.

My many sojourns to Andalusia and my work in Madrid, as well as my friendship and acquaintance with greater and lesser Maestros, have influenced my knowledge and experience collected in this method - not forgetting my first inspiration by my long- standing friend and guitarist, Manolo Lohnes, who has contributed considerably to the development of Flamenco in Germany. During 15 years of teaching, I have repeatedly been challenged to think about and analyse what my fingers and, above all, the fingers of the great "Maestros" were doing, and how I could pass on my experience and the things I had learned. As everyone else who teaches Flamenco, whether guitar or dance, I was "made" a teacher by my students. Moreover, I learned a lot from countless per- formances which took place without rehearsals; in these cases, I was introduced to the dancers and singers in the dressing-room only shortly before the performance. As a man and musician, working together and being on the road, especially with "Gitanos," has given me, being a foreign flamenco, a lot. Thanks to all this and to working with my partner and bailaora graciosa Lela de Fuenteprado, Flamenco has become what it is for me now: la vida.

Flamenco is not only guitar music. Although Flamenco gained world-wide popula- rity because of the guitar or guitarists such as Carlos Montoya and Manitas del Plata in the 1960s and Paco de Lucía in the recent past, its cornerstones still consist of singing, dancing, the guitar, and the "jaleos."

Flamenco is a very emotional, yet rigid form of art and an attitude about life. Flamenco means spontaneity and improvisation in music and in life: to live now, not to give oneself up, despite desperate straits, to overcome mental and physical distress without aggression, by using music and dance as an outlet, to

accept ones fate, to make the best of every situation, however little that may be - and to do all this with an enormous zest for life and a strong will to live.

This might be the reason why Flamenco is one of the most elemental forms of music making and dancing which exists strongly from listening to oneself.

However, this method can at best serve only as the grammar and vocabulary of the Flamenco language. You should learn the subtleties and wealth of this language where it is spoken. Since this is not always possible, you should at least have a good look at Flamenco music, i.e. listen to records, go to concerts and try to come into contact with Flamenco artists, especially Flamenco dancing schools which can be found in every major city now.

As there have been virtually no pedagogically trained Flamenco teachers to this day, the music has always only been passed on orally. Only recently have people begun to transcribe it. Moreover, Flamenco was never composed, either. If there are arrangements, they leave much room for improvisation, i.e. free access to the countless drawers of a large chest of drawers. But someone did create the contents of the drawer, the falseta, some time and did learn and practise the form of the "chest of drawers," i.e. the genre with its fixed rhythms and rules.

This guitar method is structured according to these principles. There are no complex compositions. I deliberately refrained from combining the exercises, rhythms and va- riations, but rather adapted them to the technical requirements and levels. My aim is to motivate the student to learn those individual parts, or drawers, by heart in order to combine them freely, but without exchanging the drawers for those of a different "chest of drawers," or to apply the form of a different "chest of drawers."

It is essential to follow the explanations of the techniques and the pictures which go with them very carefully, to achieve the typical sound of the Flamenco stroke, which is the main point in this book. If the practice pieces on the CD sound better than your own playing, it is not because of my guitar or the recording technique, but solely because of the stroke and the tone production. Listen to the examples on the CD as often as possible to get a feeling for phrasing, articulation and tone production.

I hope you enjoy this book and I wish you every success with the Flamenco guitar.

TOC of Flamenco Guitar method I

The Author
Text Styles Used in This Book
About this CD



The Sound of the Flamenco Guitar

Continuing Rasgueo


Pulgar and ima-Downstroke
Pulgar and Rasgueo


i- and p-Downstroke with Golpe
m-Golpe with Downstroke
The Rumba-Stroke




La Guitarra Flamenca
Guitarreros actual
La Cejilla
Guitarristas actual
Modo Dórico - Harmony and chords




Contents of Volume 2




List of Compositions and Music Examples

Sencillos I (Tangos)
Sencillos I (simplified notation)
3-Finger Rasgueo
Estudio por Soleá
4-Finger Rasgueo
Sencillos II (Tangos)
Naino I (Tangos)
Naino II (Tangos)
Naino III (Tangos)
Naino IV (Tangos)
Mantón I (Soleá)
Caí I (Alegrías en Do)
Ayudado Exercise I
Ayudado Exercise II
Rumbita (Rumba)
Mantón II (Soleá)
i-Downstroke with Golpe (Garrotín)
p-Downstroke with Golpe and p-Upstroke (Garrotín)
Naino IV (Tangos)
Quejío I (Taranto)
Rumba-Compás I
Rumba-Compás II
Rumba-Compás III
Rumba-Compás IV
Rumba-Compás V
Rumba-Compás VI
Tresillo I
Tresillo II
Tresillo III
Tresillo IV
Tangos-Compás with Tresillos
Soleá-Compás with Tresillos I
Soleá-Compás with Tresillos II
Soleá-Compás with Tresillos III
Soleá-Compás with Tresillos IV
Fandango de Huelva (Intro)
Fandango de Huelva (Copla)
Sevillanas (Intro)
Paso Lento (Alegría)

TOC of Flamenco guitar method II




Bulerías I




Bulerías II


Middle Ages
The Moors
The Reconquista
The Jews
The Inquisition
The Conquista
The Gipsies
Development of Flamenco
Flamenco in the 50s and Today
Los Tablaos
El Cante - El Baile - El Toque


CD Tracks


List of Music Examples and Compositions

Arpegio Exercise I
Arpegio Exercise II
Arpegio Exercise III
Arpegio Exercise IV
Quejío II (Taranto)
Mantón IV (Soleá)
Mantón V (Soleá)
Mantón VI (Soleá)
Rumbita II (Rumba)
Tremolo Exercise I
Tremolo Exercise II
Quejío III (Taranto)
Picado Exercise I
Picado Exercise II
Picado Exercise III
Lérida (Garrotin)
Compás Exercise I (Bulerías)
Compás Exercise II (Bulerías)
Compás Exercise III (Bulerías)
Compás Exercise IV (Bulerías)
Bulerías-Compás I
Bulerías-Compás II
Bulerías-Compás III
Bulerías-Compás IV
Bulerías-Compás V
Bulerías-Compás VI
Bulerías-Compás VII
Bulerías-Compás VIII
Bulerías-Compás IX
Bulerías-Compás X
Bulerías-Compás XI
Bulerías-Compás XII
Bulerías-Compás XIII
Bulerías-Compás XIV
Bulerías-Compás XV
Bulerías-Compás XVI
Bulerías-Compás XVII
Bulerías-Compás XVIII
Columpio I (Bulerías)
Columpio II (Bulerías)
Columpio III (Bulerías)
Mantón VIII (Soleá)
Mantón IX (Soleá)
Mantón X (Soleá)
Mantón XI (Soleá)
Alegría en Mi I (Compás Exercise)
Alegría en Mi II (Compás Exercise)
Alegría en Mi III (Intro)
Alegría en Mi IV (Escobilla)
Alegría en Mi V (Puente)
Caí II (Alegría en Do)
Caí III (Alegría en Do)
Caí IV (Alegría en Do)
Caí V (Alegría en Do)
Columpio IV (Bulerías Intro)
Columpio V (Bulerías)
Quejío IV (Taranto)
Naino VI (Tangos)
Naino VII (Tangos)
Naino VIII (Tangos

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Gerhard Graf-Martinez

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