Flamenco guitar in the 21st century

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Before I begin, I would like to thank the readers of this series for their suggestions via social media. It is very difficult to summarise an entire era with all its figures in a short space of time. Please excuse me for this, as everything is written with the utmost respect, affection and admiration for this wonderful instrument. So let's wrap things up.

Throughout this century, we have seen a notable advance in the flamenco guitar for concerts and for accompanying dance and music. cante. The flamenco guitar is one of our traditional and artistic icons. It evolves and is constantly enriched in construction, repertoire, style, sound and technical study. Changes from the very essence of the instrument to adapt to the times in which we find ourselves. In the flamenco, the guitar is not a mere accompaniment, its role is becoming more and more visible. I remember conversations with two guitarists, the one from Huelva Manuel de la Luz and the Sanluqueño Child Manuel, in which both agreed that "guitarists are the bricklayers and nurses of the flamenco».

Flamenco guitar technique has evolved significantly in recent years. New sounds and styles are being incorporated. Experiments are being made with fusions of flamenco traditional with contemporary genres. The catalogue of musical textures is expanded, which, as a direct consequence, brings el flamenco to new audiences from diverse cultures and geographical areas. Technology developedpeña an important role. Advances that facilitate digital recording and dissemination through streaming platforms streaming and social media. Many guitarists use modern tools to explore new rhythmic and sound possibilities. And the creation of audiovisual content allows for greater contact with all types of audiences.

«I remember conversations with two guitarists, Manuel de la Luz from Huelva and Niño Manuel from Sanlúcar, in which both agreed that guitarists are the bricklayers and nurses of the flamenco»

The dialog flamenco between the classic and the modern, which seeks innovation from the very beginning, is a constant fact. The flamenco guitar is a vehicle of expression and transmission. It adapts to musical trends. Countless artists explore new horizons through fusions with other musical genres. With this dialogue between the traditional and the modern, its historical legacy is preserved and cultural and musical evolution is maintained.

The introduction of flamenco guitar into music conservatories is an important fact, although we must continue to fight for it to become a complete reality. When Juan Zarzuela Gil This crusade begins in Jerez, with political, educational and important artists' support, and the results appear gradually. The incorporation has been slow, since Paco Peña o Manuel Cano began their teachings. And of the expected and controversial Law of the Flamenco The support that was promised and desired is not appreciated, either in teaching or in the artistic field. Nevertheless, flamenco guitar studies in conservatories are flourishing, with a generation of excellently trained guitarists.

In summary, flamenco guitar in the 21st century has evolved considerably in search of rhythmic, harmonic and melodic sound resources. The presence of scordatura, which alters the tuning of one or more strings to modify the timbre of the instrument, is an increasingly present musical technical resource. As are the interactions with other musical genres. In the traditional codes of accompaniment, exclusive and original music is created for choreographies and sung songs. This does not mean that it was not done in previous times, but it has become more evident in recent years. The traditional schools of guitar playing are also differentiated through their greatest exponents, as well as the notable incursion of female guitarists, who develop an extraordinary touch, flourishing from various points of the flamenco geography.

It is also worth mentioning that even masters from previous generations are still active with a very current touch: Paco Cepero, Vicente Friend, Juan Manuel Canizares, Luis Calderito, Paco y Miguel Angel Cortes, Rafael Riqueni, Pura's Child, Manolo Franco, Juan Carlos Romero, Jose Luis de la Paz, Ricardo Minho or the same serranito. Teachers like us are still with us Andres Batista y Juan Serrano.

The Jerez school continues to maintain its essence. Guitarists of the stature of Alfredo Lagos, Manuel Parrilla, Diego del Morao, Pepe del Morao, Jose Quevedo Bolita, Miguel Sallado, Isaac Moreno, Antonio Higuero, Manuel Jero o Manuel valencia They continue to print that sound of their predecessors. Without forgetting Antonio Rey, with his two Latin Grammys. In addition, Cadiz is a flamenco land. The work of Santiago Lara with their shows Bullfighting y Medea, in memory of the teacher Manolo Sanlucar. And we remember Paco León, Jesus Guerrero, Child Manuel, Jose Carlos Gomez, Salvador Andrades, Paco Vidal, Pituquete o Keko Baldomero.

«I think that on many occasions we are obsessed with technical complexity, when it is recognized by musicians at an international level that less is more. Just like starting the house from the roof when the root is found in those anthological recordings by Miguel Borrull, Ramón Montoya, Niño Ricardo or Sabicas»

From Morón de la Frontera you can smell the aroma of Diego del Gastor. And that archaic and anarchic way of playing is preserved to this day as the hallmark of a unique style. By means of Paco del Gastor and his grandson Paco's Spender or Paco e Ignatius of Amparo those Moronero nuances that so identify that touch are appreciated. Although Morón has an exponent in the figure of Dani de MoronWe appreciate his personal, cheerful, clean and exquisite touch, which is wrapped in the strumming of the rhythm. And he unites the most flamenco roots with the most current avant-garde.

From Granada we find Alfredo Mesa, husband of dancer Ana Cali and conservatory professor. Alvaro Martinete, disciple of Gerardo Nunez. Jose Fermin Fernandez, who in 2019 won both the Bordón Minero and the first prize at the Córdoba National. Or the heir to the Habichuelas saga, Juan Habichuela Nieto. The continuity of the Almeria guitar of Tomatito is appreciated in his son Jose from Tomato. And Child Josele, whose musical language is a source of sonic riches. Málaga la Bella accompanies us with Ismael Rueda, Daniel Casares, Paco Javier Jimeno, Chaparro from Malaga, Jose Juan Pantoja, louis fonseca, Maria's work o Salvador Rinquin, among others.

Córdoba is a guitar garden. The work that is done from the beginning stands out. Rafael Orozco Conservatory of Music in the flamenco guitar itinerary. From the province of Córdoba we hear Paco Serrano, Jose Tomas, Antonio Patrocinio Son, Angel Mata, Rafael Chaparro Jr., David Navarro o Seve child. We mention Francisco Prieto Currito, son of the teacher Antonio Prieto The Curri, or Rafael Trenas Jr., descendant of Rafael Trenas. Without forgetting the teacher Manuel Silveria.

Other enclaves such as Huelva, provide important figures. Manuel de la Luz, guitarist and composer, squire of Miguel Poveda or Eva Yerbabuena with two wonderful solo albums. The Moguereño Francis Gomez, with a prolific career, and in turn essential for both Archangel as if to Joaquin Grilo. Alvaro Mora, the only Bordón Minero from Huelva, accompanying the main figures of both dance and cante, between them Jeromo Segura. Antonio Dovao He carries out dissemination work, with an incredible online platform, in addition to his academy and his work as a companion. Paco Cruzado, teacher and guitarist, does spectacular work on bolero school. Gaspar of Holland, a Dutchman from Huelva, presents two albums full of flamenco. And of course Joaquin Brito o Carmelo Picon. I do not forget my dear and admired childhood friend, Dani Velez.

In the province of Seville the trail of masters from previous generations continues. In this we see Pedro Sanchez, son of Orange from Triana, Manuel Herrera father and Manuel Herrera Jr., Ramon Amador, Curro Vargas from Utrera, Antonio García from Écija or Rycardo Moreno from Lebrija. I echo several guitarists who have made dance accompaniment a hallmark of their playing. One is John Campallo, and another, one of the fathers of the touch for dancing, Miguel Perez. The young value David de Aharal or the consecrated one Raul The Pearl They are two guitar realities. And the master Salvador Gutierrez.

«Let us not forget that the guitar is a transmitter of messages and feelings. It transmits strength, sensitivity, sadness, joy, rage, death or passion through seguiriyas, bulerías, fandangos, mineras or soleares. The tremolos, arpeggios, alzapúas, strumming or picados must be arranged to serve the transmission of a message. As Lorca would say in different verses of his poem»

In Extremadura we find Miguel Vargas, patriarch of the Vargas. Juan Vargas, his son, is the evolution and legacy of that Extremadura touch. Miguel Vargas is the one who provides the flamenco identity that was lacking in the Extremadura touch. Another exponent from Extremadura is Joaquin Munino.

Special mention to the work of a guitarist from Alicante, the land of the maestro Mario Escudero. Alejandro Hurtado He has two wonderful albums. In one he pays homage to and remembers the masters Manolo from Huelva y Ramon Montoya. In another he exposes his most flamenco musical credentials. With a very complete repertoire of nuances, depth and truth in his playing. And he interprets the Concert of Aranjuez de Joaquín Rodrigo in recitals at an international level.

The country of the bull's skin has an incalculable musical wealth. Guitarists move throughout the Spanish geography. A clear example of them are Josemi Carmona, Juan Jose Suarez, Augustin Carbonel The Ball, Amos Lora, David Leiva, Oscar Herrero, Antonio Fernández, Andrés Sánchez, Joseph Louis Monton, Kilino Jimenez, Jesus of Rosario, Jerome Maya, Juan Ramon Caro o Yeray Cortes.

And of course, them. Women with splendid courage. Who also have the handicap of the macho flamenco tradition. They, with tenacity and work, overcome it. A touch full of elegance, subtlety and technical development. With substance in its purity and flamenconess in its development. Thanks to journalists like Angels Cruzado o Maria Jesus Castro, the flamenco guitarist has more visibility. The proposals of Davinia Ballesteros, Laura González, Antonio Jimenez, Alba Martos, Celia Morales, Pilar Alonso, Lola Yang, Angela Zarzuela, Teresa Jimenez, Maria Jose Matos, Silvia Brener o Mercedes Lujan. A catalogue that is gradually expanding.

The guitar is a wonderful instrument. Its ability to transmit is infinite. But many times the technical development and sophisticated language of playing prevent the message from being clear and concise. It has moved me since a zambra of Stephen of Sanlucar to a succession of arpeggiated chords by Miguel Vargas, passing through Child Michael, Paco de Lucía, Moraito o Enrique de Melchor. I think that on many occasions we are obsessed with technical complexity, when it is recognized by musicians at an international level that less is more. Just like starting the house from the roof when the root is found in those anthological recordings of Miguel Borrull, Ramon Montoya, Nino Ricardo o You know. Let us not forget that the guitar is a transmitter of messages and feelings. It transmits strength, sensitivity, sadness, joy, rage, death or passion through seguiriyas, bulerías, fandangos, mineras or soleares. The tremolos, arpeggios, alzapúas, strumming or picados must be put to the service of transmitting a message. As Lorca would say in different verses of his poem.

Crying starts
of the guitar.
It is impossible
shut her up.