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Allow me to introduce myself. I'm Tom and I am a relative newcomer to the world of Flamenco. My background is in Jazz , Blues, Kottke-style fingerpicking, Metal, Rock, Rockabilly, and an ever-so small dash of Country. I studied contemporary music at Southern Cross University in Lismore NSW/AUS where I earned my B/A-Contemporary Music, majoring in Guitar.
Flamenco has consumed me for the past 6 months. I own 15 pro quality electric guitars, (6's, 7's and 8's) none of which has had any play-time since I quit my band and bought myself an Amalio Burguet Negra. My practice regime is a daily one, with all emphasis on perfecting various Flamenco techniques. I'm fortunate that my musical background affords me the ability to understand the harmonic aspects of Flamenco music quite easily, however, I'm finding that the physical demands on muscles I didn't know I even had make it a long and testing journey if I'm to get to the level of competence I'd like...of course as guitarists we're never content at any level. I'd say at this stage I have about a quarter the mastery of Flamenco as I do the above mentioned, but I am determined...I love it.
Biggest Flamenco influences: Pena and Lucia (RIP) with a passion. Sorry to be so predictable. Perhaps my tastes will become less generic as time goes on. I've just started to get my head in to Tomatito as well.
I've enjoyed the educational aspect that Foro Flamenco has provided me as a browser, and look forward to expanding my knowledge/perspective as a member amongst like-minded Flamenco nuts.
RE: Buanos Dias from Australia (in reply to Petraskova)
Welcome to the foro.
If you're new to flamenco but have a background playing other styles of guitar, I'd recommend paying special attention to the different palos and the tight, even sense of rhythm required to play each of them well. At the end of the day, that's arguably what distinguishes a flamenco guitarist from a pseudo-flamenco guitarist.
RE: Buanos Dias from Australia (in reply to Petraskova)
Welcome to the foro. A dance teacher i used to work for once told me that Paco de Lucia spend some hours in here Amsterdam based house (after a concert) and was very impressed by the Kottke record she played him, especially the thump shuttling between 2 base notes, a technique hardly used in flamenco although Zambra uses it constantly. As far as predictable is concerned, when i studied flamenco at Paco Peña's flamenco academy in the late 80ties Paco de Lucia was (and is) our biggest hero, but i was told many of the precent day students embrace Tomatito as their hero and main influence.
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RE: Buanos Dias from Australia (in reply to machopicasso)
quote:
ORIGINAL: machopicasso
Welcome to the foro.
If you're new to flamenco but have a background playing other styles of guitar, I'd recommend paying special attention to the different palos and the tight, even sense of rhythm required to play each of them well. At the end of the day, that's arguably what distinguishes a flamenco guitarist from a pseudo-flamenco guitarist.
Good luck!
Hi Machopicasso,
Thanks for your advice. You've hit on something relevant to me there. Much of my self-study thus far has revolved around technique. Amongst other resources I'm using Paco Pena's Toques Flamencos book a lot and, as brilliant a tool as it is for learning Flamenco guitar, every so often I stop and realize there's something going on rhythmically in the music that I'm yet to understand. The compas. Especially when considering 12/4 time sig. So your reply has sent me on a bit of a different path, which I'm greatful for
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I've just started to get my head in to Tomatito as well. 
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