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Hurtado and Riqueni talk about Nino Ricardo, Sabicas and R. Montoya. As far as I know, there are 3 main schools of flamenco guitar playing - the school of Jerez, Sevilla and Madrid.
The school of Jerez: Created by Javier Molina.
The Madrid school: Created by Ramon Montoya. It emphasizes solo and virtuosic guitar playing. A notable tocaor of this school is Sabicas. Hurtado said at 16:25 Sabicas was influenced 70% by Ramon Montoya. It's true because Sabicas played many Montoya pieces note for note.
The Sevilla school: Created by Nino Ricardo who combined the characteristics of the school of Jerez and Madrid. Hurtado said something similar at 13:15.
PdL is a student of the Sevilla school. But I think there's the 4th school - the school of PdL. I would say the school of Paco is an amalgam of 3 main schools above. All guitarists after Paco belong to it.
Claude Worms mentioned other schools on his website e.g the school of Sacromonte, Moron and Utrera/Lebrija. But to me these are local or individual styles.
Posts: 4702
Joined: Aug. 9 2006
From: Iran (living in Germany)
RE: Schools of flamenco guitar playing (in reply to devilhand)
I guess at this point in time contemporary players simply incorporate everything they like from all regions and maestros and try to add their individual touch. Too much overlap.
RE: Schools of flamenco guitar playing (in reply to Arash)
quote:
I guess at this point in time contemporary players simply incorporate everything they like from all regions and maestros and try to add their individual touch.
I think this is partly true, and certainly for outsiders. But if you grow up immersed and learn in Jerez you are getting the lineage.
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Joined: Dec. 14 2004
From: Washington DC
RE: Schools of flamenco guitar playing (in reply to devilhand)
Often the choice or emphasis of repertoire reveals the "school" or hometown. Diego del Gastor played note for note from Javier Molina and Ramon Montoya, and others, yet he is considered part of the Moron school, which is one of the most easy to recognize after only a few strums or thumb notes. Paco certainly copied Ricardo, however, he got much from Montoya aka "Madrid school" if you want to delineate, and from the start of his career he was always emphasizing the Alegrías and other Cadiz styles, homage to Patiño to La Barrosa, etc. Madrid school has, in recent times, been redefined as "Caño Roto", with a heavy emphasis on dance music and virtuoso technique expressions. Someone like Nuñez is often not considered of the "jerez school" because he rubbed elbows with that group, but for sure what he teaches to the intermediate class is very much rooted in Jerez as anyone would define it.
Much like the cante, the lines blur, as they should, and it all comes down to individual expression and family traditions.
RE: Schools of flamenco guitar playing (in reply to Ricardo)
quote:
it all comes down to individual expression and family traditions.
To a certain degree yes. But everyone today G. Nunez, V. Amigo, Tomatito, J. Maya, Hurtado, Riqueni etc. including you belong to the school of Paco when you think he's the father of contemporary flamenco guitar.
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