Paco de Lucía, The Only Innovator of Contemporary Flamenco Guitar

Part 4

(June 2009)

Prof. Ruben Diaz, Ph.D. Contemporary Harmony and Composition

Contemporary Flamenco Music

In support of the position that Paco de Lucia is ultimately the true and ultimate embodiment of contemporary flamenco music, I have selected three of the greatest guitar masters who preceded him—namely Ramon Montoya, Niño Ricardo and Sabicas—and I have carried out a general and harmonic analysis with respect to each of them.  This analysis will provide an objective perspective on flamenco music which preceded Paco de Lucia.  In addition, it will enable you better to see and to appreciate Paco de Lucia’s enormous contributions as well as the immense role he has played in the history of flamenco guitar as well as flamenco music itself.

Then I have, without prejudice, selected a single buleria video from YouTube of each of the best known guitar players of Paco de Lucia’s generation (i.e., Paco Cepero, Pepe Habichuela, Juan Martin and Manolo Sanlucar), the generation guitar players succeeding him (i.e., Vicente Amigo, Niño de Pura, Gerardo Nuñez and Tomatito) as well as the most well-known young, current guitar players of today (i.e., Niño Jero, Niño Josele, Diego del Morao and Antonio Rey).  I have then conducted a general and harmonic analysis of their work as well.

All of this analysis leads to the conclusion that none of the guitar players mentioned above (except for the three greatest guitar masters prior to Paco de Lucía’s era) have offered anything new or innovative in the field of flamenco guitar.  Indeed, some have merely taken what Paco de Lucía has done previously without necessarily even realizing they had done so and merely presuming they have introduced something new.  Others have simply taken for granted that the manner in which they play the guitar is the way that it has always been done.  In any event, the most important thing to recognize from this analysis is that, due to the lack of an academic approach (and perhaps on account of plain ignorance), Paco de Lucia’s contemporaries and successors may present themselves as innovators, iconoclastic composers and so forth when this is simply not true.  Indeed, this has become both an unfortunate as well as a critical situation which ultimately contributes to a lack of creativity in the entire realm of flamenco music.

Here is my analysis:

Greatest flamenco guitar masters before Paco de Lucia

Ramon Montoya (1880-1949)

Analysing: Bulería recording around 1930

Harmonic Analysis

Comments: 1) Scales used are Minor Natural and Phrygian. 2) The degree Im is never played, it is omitted.

Rhythmic Analysis: Although at that time there was rhythmic reference (hand claps - palmas) while accompanying dance or singing, when playing alone, guitar players did not use hand claps to play over. So, in this recording there is no rhythmic reference.

Arrangement: Only guitar.

Niño Ricardo (1904-1972)

Analysing: Bulería

Harmonic Analysis

Harmonic Analysis

Technique Analysis

Arrangement: Guitar and singer

Sabicas (1912-1990)

Analysing: Bulerias 1967

Harmonic Analysis

Harmonic Innovation:

Rhythmic Analysis: Although at that time there was rhythmic reference (hand claps - palmas) while accompanying dance or singing, when playing alone, guitar players did not used hand claps to play over. So, in this recording there is no rhythmic reference.

Rhythmic Innovation: None

Technique Analysis

Technique Innovation:

Arrangement: Only guitar.