WEDNESDAY 15 – Morning classes (11:45 a.m. – 2:00 p.m.).
GROUP WITH INSTRUMENT: 25 €
WORKSHOP FOR FLAMENCO FOR CLASSICAL GUITARISTS. For many decades, the separation between classical and flamenco guitar has been somewhat artificial. Before this clear division emerged—although the differences certainly exist—the instrument was simply known as the Spanish guitar, rather than being categorized as either flamenco or classical. Much of flamenco guitar technique is rooted in classical guitar foundations. At the same time, flamenco has incorporated influences from other traditions, such as the Arabic oud, from which techniques like alza púa likely developed. Before the classical guitar became accepted among “serious” concert instruments such as the piano, violin, or cello, the guitar was largely regarded as an accompanying or salon instrument, and earlier still as the instrument of traveling troubadours. Techniques such as rasgueado emerged from this more popular and folkloric side of the instrument.
As the guitar sought acceptance within the classical tradition, many of these elements began to disappear, as the instrument attempted—perhaps unsuccessfully—to imitate the role of a miniature piano and distance itself from its origins. Flamenco guitar, however, never lost this connection. While maintaining many classical technical principles, it adapted them to its own musical language. Flamenco preserved and further developed rasgueado techniques in service of dance and cante, while also expanding classical techniques. For example, flamenco tremolo adds an extra stroke, resulting in four notes rather than the three typically used in classical tremolo. The apoyando technique has also been developed extensively in flamenco playing, whereas in classical guitar it is used less frequently today. Classical guitarists can benefit greatly from reconnecting with these flamenco roots. This connection not only deepens the understanding of Spanish classical repertoire, but also provides important physical and technical benefits.
Techniques such as rasgueados strengthen the extensor muscles of the right hand while offering a dynamic and enjoyable way to develop technique. Musically, flamenco—being primarily an oral tradition—places strong emphasis on listening, ear training, and instinctive musicianship. When music is learned exclusively from written scores, some of that intuitive connection to sound and expression can be lost. The ideal approach is to bring both worlds together, allowing each tradition to enrich and expand the other.
Flamenco guitarists, in turn, can also gain much from studying classical guitar. Many great flamenco players have done so. Figures such as Ramón Montoya, Manolo de Huelva, and Miguel Borrull were known to play classical repertoire, and even the legendary Sabicas explored it. A lesser-known but often mentioned fact is that even Maestro Andrés Segovia occasionally played flamenco. In this masterclass we will explore several types of rasgueados, work on strengthening the thumb through alza púa, and learn fundamental compás structures and rhythmic patterns that form the foundation of flamenco, including Soleá, Tangos, and others. We will also focus on developing picado (apoyando) technique and building a balanced, flexible right hand.
