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Introductio to Present-day Flamenco-img1



Professional musicians with an interest in getting to know and understanding the basics of flamenco music, from a technical point of view and by using the most common tools for musical analysis. Both the harmonious and rythmic aspects, as well as the stylistic uses of the different “palos” are of importance.


To give professionals the technical tools of this type of music, patrimony of this country, to promote the cultural content of flamenco music, to start a pedagogical movement as has already been done with musical styles from other backgrounds (e.g. Brazilian, Cuban, Jazz, etc.), and to guarantee the conservation of its most important characteristics.


  • Short historical introduction
  • The “palos”. The different families and their main characteristics.
  • The most important “palos”; Solea, (Bulerías, Alegrías), Seguiriyas, Fandangos, Tangos and Tanguillos..
  • "Las Palmas", its patrons for each “palo”.
  • The harmony (analysis of the Flamenco Mode, Harmonious Rhythm, Tonal Functions, and its link to diatonicism)..
  • The Song as a genesis of all styles, and its subsequent melodical analysis (its link with both compass and harmony).
  • The evolution of "bulería".
  • The use of instruments without a clear flamenco tradition (melodical instruments, e.g. sax, violin, flute, etc. and from the rhythm dection, e.g. piano, bass, drums and other percussion instruments).

    All of these contents can be organised into different types of classes:

  • Theory and practice classes taught by one professor (and maybe taught simultaneously).
  • Theory and classes practice taught by all professors, with student interaction.
  • “Combos”, an instrumental group for which a seminar of five days minimum would be needed.


Piano/analysis/harmony/arrangements :
  Pedro Ojesto
Flamenco guitar:
  David Cerreduela
Flamenco percusión:
  Fernando Favier
  Juan Parrilla
  José Miguel Garzón
  P. Ojesto


In order to be able to teach the “combos”, as many different teaching rooms as possible “combos” would be needed. Also, for the classes taught in large groups, a large room or lecturing theatre with enough space for all students would be needed. This type of seminar, with an emphasis on all things practical, tends to last around one week,with the end results usually being shown in an end-of-course concert. Also, a minimum of five professors would be needed in order to teach all the “combos”.

Another possibility would be a more simple type of seminar, in which the whole group of students stays together in all classes, thereby reducing the “combo” classes to one open and interactive class. This class would need less professors (as a minimum, ) and one single room or lecturing theatre, with all necessary equipment.

We are of course open to all types of proposals concerning length, organisation, number of professors, and contents of the differnet courses.


The report by the Real Conservatorio de Madrid both stresses the teachers’ great professionalism and values an education that not only concentrates on technical aspects (rhythm, melody, style, and form) but also on aural identification and musical memory. Thus the performer depends less on the score and more on awareness and reflection.

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