Guitar lessons
for all levels with Ben Phipps: privately, or at Community Conservatory - check for available times.
Where do I start?
It is important to listen to flamenco recordings, and even go to a show or two if you get the chance, to give you inspiration as you start out with the instrument. Among the great guitarists of flamenco history are el Niño Ricardo, Ramon Montoya, Sabicas, and the great master Paco de Lucía. Paco de Lucía is universally credited with revolutionizing not only the flamenco guitar but, along with the great cantaor Camarón de la Isla, the art of flamenco itself. In present day Spain, the level of guitar playing has reached a point perhaps higher than at any time in flamenco history. Paco's legacy has inspired an impressive new generation of guitarists, among them Tomatito, Vicente Amigo, Moraito Chico, and Geraldo Nuñez. While some believe that contemporary flamenco is "impure" and label it fusion, I personally strongly prefer modern interpretations to older ones, and I make a clear distinction between modern-traditional flamenco (new interpretations of traditional forms) and flamenco-jazz fusion or pop fusion.
There are also exists a more popularized form of flamenco called rumba flamenca, which is rythmically simpler and more danceable, among whose interpreters I would recommend the Gypsy Kings, Strunz and Farah, and Rodrigo y Gabriela, who bring a strong rock background to their style. Ottmar Liebert has a kind of smooth, laidback style that is nice but actually has nothing to do with flamenco, and Carlos Montoya is an amateur player with some gimicks who somehow has lots of records out there.
Where do I get a good flamenco guitar?
In most areas of the United States they are not easy to come by. I began with a classical guitar, which I had some alterations done to, specifically had the action lowered and a golpeador (tap plate) attached to it. Lowering the action (bringing the strings closer to the neck) sufficiently without creating excessive buzzing can require more than simply lowering the saddle, and I had an instrument repairer do it. You can also have two saddles for your classical guitar so that you can use it well for classical and flamenco.
There is a store in Manhattan called La Luthier which focuses on flamenco and classical guitars and accessories. The only other stores I know of where you will find flamenco guitars are classical guitar stores, such as The Classical Guitar Store in Philadelphia or the Rosewood Guitar in Seattle. You can mail order a guitar if necessary, but it is preferable to get a chance to play it first. Flamenco-world.com offers some flamenco guitars for a high price, plus shipping from Europe. E-bay is worth checking out - I've known more individuals with flamenco guitars for sale than I've ever seen in stores. The best place to get a flamenco guitar is of course Spain, especially Andalucia, but even then it's important to have a good contact or recommendation, because there are lots of junk guitars for tourists.
Where can I take lessons?
I teach private lessons right here in Bucks County, and more generally, it depends where you live. In the U.S. most major cities have at least some resource for flamenco guitar instruction, and frequently the Internet is a great way to explore what is available. On our About Flamenco page you will find links to some resources and companies on the East Coast. We are always updating our own info, so this site is by no means exhaustive. Areas of the country with a large Hispanic population tend to have more flamenco players. The University of New Mexico has a flamenco program, and the southwest region of the country is generally a good place to find a teacher, unlike, say, the midwest. Even if you find a good teacher in this country, it is indispensable to spend some time in Andalusía or at least Madrid. I personally have only had a extended stay in Madrid, which is probably the best place outside of Andalucía to go for flamenco.
If you don't think you'll be able to take lessons for whatever reason, the second best thing is a instructional video or CD with a book. I don't say 'book with video' because the video is far more important. A CD is also fine, but it is advantageous to be able to see the hands. Don't even try to learn flamenco, or any kind of music, with a book by itself. Most flamenco teachers just teach orally and allow you to record parts of the lesson. By far the best instructional videos I have seen are those by Oscar Herrero, which I strongly recommend. An important note - Be very careful learning with videos, as they can't correct mistakes and bad habits the way a teacher can. Nowadays I use video/book combos from the Encuentro Productions series, which I recommend to advanced guitarists. They are expensive but well worth the price.
How do I practice?
OK, now that you have your guitar, here are some tips for practicing. There are in fact bad ways to practice, and just because you play the guitar for hours every day doesn't mean you'll necessarily improve. First, practice slowly, slowly, slowly. You will have to remind yourself of this constantly. After you learn something new, practice it slowly enough that you can play it in rhythm, clearly. Use a metronome, if you have one, and very gradually increase the tempo. With a little patience you have it to the speed you want. This process can help to eliminate the frustration of trying to play something that is too fast and difficult for you to play well.
There are many different elements to consider when practicing. There is technique, tone, ear training, theory, rhythm, music reading, accompaniment, repertoire. In practice, not all of these are as formal as they sound. Most flamenco players do not have a formal musical education, hence they do not read music (they may occasionally read tablature). Understanding music theory can simply mean understanding the fretboard of the guitar - the placement and function of chords, scales, and arpeggios. Flamenco is passed on orally, by showing and demonstrating musical material as well as the processes and tools for improvising and composing new material. Flamenco guitarists develop an understanding of music theory as it applies to the guitar, without having taking a class or looked at a piece of paper.
For most musicians, ear training means learning one of your favorite songs by listening to the recording over and over again. Formally educated musicians may notate the music as they hear it, which is known as dictation. Flamenco musicians are more likely to just memorize it as they hear it. I use a device which allows me to loop short sections of a piece, so I don't have to rewind over and over again. It also allows me to slow down the recording without affecting the pitch. It is worthwhile to try to learn material without using any notation, because it develops your ear and improves your ability to hear musical details. Begin with very easy pieces, and if you find something is too hard or too fast, find something easier. Eventually you will be able to learn more difficult pieces by ear. For extremely complex and difficult pieces, I usually try to find notation to use along with the recording.
Technique
Flamenco technique can be intimidating. Having a classical background gave me an advantage, since many of the techniques are similar or exactly the same as flamenco techniques. Left hand technique is the same for both styles (and is quite similar for any style on the guitar), and the right hand techniques have many similarities. The techniques which presented the greatest challenge for me were rasgueados, alzapua, and the playing of fast scales with only the thumb. Rasgueados refer to a wide variety of strumming techniques which involve a great deal of muscle building in you right hand. Alzapua is a thumb technique which uses both sides of the thumbnail like a pick. In flamenco, all the scales are played with apoyado (supported), which means the finger or thumb lands onto the adjacent string after plucking.
Tone
Concerning musical tone, I will simply say that it is very important, because if you don't have good tone, nobody will want to hear you play (including yourself). With finger style playing, this can involve an unholy amount of finger nail shaping and maintenance. Weak nails are a serious problem for many guitarists. I have found that coating my nails with acrylic is a solution that produces a decent tone. Many classical guitarists can protect their natural nails and strengthen them with various products and supplements, but flamenco is a bit rougher on the nails.
Concerning repertoire (material), it is not fundamentally important to practicing in and of itself, but it can be a strong motivating factor. Let's say you find a piece you like, which involves lots of technical and musical details you need to work on. Which would you prefer - practicing technique with boring technical exercises or in the context of an inspiring piece? Just be sure to practice the piece in sections, slowly, and focus on the parts which are most difficult. Playing the whole piece over and over again won't get you anywhere. Also, if you want to perform eventually, you will need to compose or learn some repertoire. An upcoming performance is a great motivation to practice. I find that the looming threat of a performance will usually scare me into practicing longer hours than will any lofty ideals of improved musicianship.
Accompaniment
Accompaniment of the baile (dance) and the cante (song) is fundamental to flamenco guitar. Until recently, the guitar was only used for accompaniment, and modern compositions for solo guitar have grown out of the structure of the cante. Flamenco guitar is percussive, loud and aggressive, partly so it can be heard above the din of singing, foot-stomping and palmas (hand claps). Due to the increased use of amplification, guitar accompanists have been able to refine their playing, but it's still the closest thing to heavy metal you will find on a nylon stringed instrument.
Rhythm
Finally, rhythm. If you don't practice rhythm and incorporate it into everything else you practice, all has been for naught. This is especially true in flamenco, because the rhythm is the most difficult - as well as the most fundamental -aspect of flamenco to master. Children in flamenco families in Andalucía have it easier, because they hear the compás (rhythm) from the cradle. For the rest of us, it requires much careful listening and practice. In the section Flamenco forms and rhythms you can find details on the various rhythms and flamenco palos (forms).
A parting word of advice: Try to find a good teacher to take at least a couple of lessons with. Even if you can't find a flamenco teacher, a good classical or jazz teacher can start you in the right direction and correct bad habits before they become ingrained. ¡Olé!
