Issue 55 - October 5th, 2014

I would like to invite you to be part of this Weekly Magazine by raising questions and giving me suggestions through e-mail so this magazine can become a good material for all flamenco lovers, researchers and musicians. Enjoy it!

A.-Paco de Lucía's Letter and Paco with Sabicas(Pictures)

B.-Comments, Questions and Answers:

QUESTION 1: I see you share knowledge in a very straightforward manner can you tell me how that factor enriches your career?

QUESTION 2: Which kind of metronome do you use in your videos? Do you recommend any of the so called “flamenco Metronomes”?

QUESTION 3: How do the new maple fretboards actually change or improve the balance regarding weight of the guitar itself while playing?

QUESTION 4: Is it true that guitars become better with time and use?

QUESTION 5: Could you please explain me why either tabs or traditional music notation are not useful to learn Paco de Lucia’s style?

QUESTION 6: Please give me some tips about how to practice well.

C.- Videos of the Week:

1) Guitar Fitness 29 - Scale Patterns

2) Guitar Fitness 28 - Scale Patterns by John McLaughlin

D.- Video Recommendations of the Week:

1) “Niño Seve” he plays a “Jaleo” in “Taranta key”

Paco de Lucía with Sabicas

This is a very special picture, maybe one of the few ones of Paco with Sabicas. It's a very symbolic picture because it reflects the course of history. If you are aquinted with “reading pictures” and the significance of bodily language you will understand the hidden message of this particular picture of Paco de Lucia been aloof (regarding his physical position in the picture) from Sabicas and the rest of the group of traditional flamenco artists therein including his own brother Ramon de Algeciras. See how the signal leading to the stage leads to Paco himself as the future of flamenco was leading to him too.

March 3rd, 1966

Dear father, mother and brothers:

I write you without having received reply to the last letter I’ve sent to you from Dallas on the 14th of this month. As I said in the letter I just wrote to Pepe a few days ago, it’s very  likely that you have written to me  and sent the letter to Louisville because it was the most appropriate place to send it. As you know, we performed in that town 5 days in advance, so, if I didn’t write to you before, it was because I was waiting for your reply.

It’s 3:00pm and we have just arrived to Birmingham to work this evening in Montevallo which is 30 miles away from here.

As you all know, we have been in New York for 3 days without working, but Sabicas was not there. However, there is an Argentinean guitar player who is a good friend of Sabicas and  he said to Rafael “El Negro” (a gypsy dancer of the company) and his wife (Matilde Coral, another famous dancer) that Sabicas is mad about hearing me playing. When we come back to New York, the first days of April, they will arrange a party in which Sabicas and all his friends will be there only to listen how I play and I’m just “shit-scared” because I don’t know whether I will do it well or not.

I make a fool of Manolo Barón at the stage every day because, although he is the first guitar player, people doesn’t pay attention to him…

B.-Questions and Answers

Sharing Knowledge is the Key to Success CLICK HERE

About Metronome CLICK HERE

Weight Balance on the Instrument CLICK HERE

Does the Quality of a Guitar Improves with Time and Use? CLICK HERE

Tabs and Music Notation CLICK HERE

TIPS: How to Practice CLICK HERE

Guitar Fitness 29 - Scale Patterns CLICK HERE

Guitar Fitness 28 - Scale Patterns by John McLaughlin CLICK HERE

On the following video you can listen the 1st national award of flamenco guitar in Cordoba “Niño Seve” he plays a “Jaleo” in “Taranta key” on a new generation Santos Hernandez female Cherry guitar http://www.andalusianguitars.com/SH1927-10-spruce-ccherryb-ccherryf-cherry-yellow-18.html

ISSUE 13

ISSUE 53