alhambra 2c guitar
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Alhambra Linea Professional Classical Guitar Near Mint $1,675.00 |
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Alhambra Classical Guitar Model 7P-A w/ Case! $1,649.00 |
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Alhambra Classical Guitar Model 6P w/ Case! $1,369.00 |
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ALHAMBRA 8P HANDMADE CLASSICAL GUITAR ALL SOLID WOOD Graduation present!! $1,300.00 |
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Alhambra 5P Senorita Classical Guitar $1,059.00 |
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Alhambra 7P Classical Guitar – All Solid Woods – Spruce with Indian Rosewood $1,000.00 |
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2012 Alhambra 4P solid cedar top classical guitar $850.00 |
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Alhambra 4P Solid Cedar Top, Classical Guitar $842.00 |
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Alhambra 3C Cedar Classical Guitar ..2012 New In The Box $695.00 |
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2012 Alhambra 3C solid cedar top classical guitar $685.00 |
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Alhambra 3C Classical Guitar $669.00 |
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Alhambra 3F Classical Flamenco Guitar $649.00 |
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Alhambra 2C Cedar Classical Guitar …2012 New In The Box $570.00 |
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Alhambra 3F Flamenco Guitar $500.00 |
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Alhambra 4P Classical Guitar $499.00 |
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Alhambra 3C Cadete Classical Guitar previous rental $449.00 |
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Alhambra 3/4 size Acoustic Guitar $59.00 |
Spanish Guitar Music
“Flamenco” is the name most widely associated with flamenco guitar And although it is definitely part of that country’s culture, it’s native only to the Southern neighbourhood of Andalucia. However this does’nt mean that if you’re not native in Andalucia, you can’t be a “legitimate” Flamenco artist! There have been, and continue to be, many contributors from other regions and other countries. Most notably Latin America and Cuba.
In the beginning, Flamenco was the music of the Andalucian gypsies. And, understandably, those who grew up around them were called “Flamencos.”
Just as this genre of flamenco guitar was the result of centuries of influence and “cross pollination” by and from Byzantine and Moorish influences, the same is true for the developement of the Spanish Guitar.
Cross Pollination
Following the Islamic invasion of Spain in 711, the region of what we today know as Cordoba, became a hub for Islamic musicians. Who were unquestionably influenced by the local music. The first phase of the guitars’ evolution was the inclusion of a fifth string to the Islamic Oud. The resulting instrument was the Andalucian “Nuba.” More commonly referred to as the “Moorish Guitar.”
Centuries later,elements of this instrument mixed with the European Lute and the Guitar Latina created the Vihuela. This became the starting point for the Baroque guitar, which, in turn, transformed into the Classical guitar. Finally, the Flamenco guitar was born. A variation of it’s Classical “cousin.”
A Quantum Leap
Although it’s often difficult to say precisely when a particular style or form of music “started” – it’s safe to say that that the arrival of Carlos Montoya was a an extremely important benchmark. Montoya, a gypsy, who could’nt read or write music, began performing in cafes when he was only 14 years old. In that era, the guitar was regarded exclusively as an accompanying instrument. It was Montoya’s talent, both as a performer and a composer that would lift the guitar, and it’s music to foreground status.
Durng the 20′s and 30′s Montoya toured the World, frequently accompanying famous dancers, such as La Argentina. After the Second World War, now headquarted in New York, Montoya continued to fill concert halls(including the Houston Astrodome!)Expanding his repertoire(and that of new Spanish Flamenco Music) to include jazz, folk and blues.
Passing the Torch
Montoya’s accomplishments paved the way for all future Flamenco guitarists. The most widely recognized] modern one being, naturally, Paco de Lucia. Like, Montoya, Paco also started his professional career at an early age, and also by accompanying dancers and singers. His first major professional accomplishment was accompanying the well known Flamenco singer Carmen De La Istra for eight years. Paco continues to donate to the developement of Spanish music with his performances and compositions which, like Montoya, freely incorporate jazz, pop, rock, folk, blues and classical motifs.
The Modern Scene
Today, it is Paco, the heir to Montoya’s tradition, who is the inspiration and reference for the contemporary generation of Spanish Flamenco guitarists.Jesse Cook, the energetic Canadian. Oscar Lopez. Lawson Rollins. Miguel de La Bastide. Jose Encinas. And, certainly, Santiago Cortez.
Like Paco, Santiago deftly blends the music of a multitude of cultures and traditions, in a way that is always accessible, but never derivative. His two great strengths are the quality of his compositions, and his impressive gift for melody. Santiago’s incredible technique is always complimenting, never overpowering it. This is what makes his brand of new spanish flamenco guitar music so unique and listenable.
Alhambra 2C Classic Guitar Sample La Grima – Lee Jin Wu
