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•Tab: Alegria falseta (4/8)
•Articles: Soleá Accompaniment (1/16)
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•Toque: The End of an Era (12/23)
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•Soleá Accompaniment
•Practice Tips for Beginners
•Free Tab on the Internet
•Alegrias Accompaniment
•Foot Tapping for Bulerías
•Returning to A [book review]
•Palmas in Brief
•Sevillanas Accompaniment
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Articles
Here is where you will find articles on diverse topics concerning flamenco and the flamenco guitar. Articles are arranged alphabetically; as always, if you have a comment on an article--or suggestion for an article--I'd love to hear your feedback.
Dance Accompaniment: Basics (part 1 of 5)
Guitar legend Sabicas is said to have once quipped that before even thinking about playing solo, the guitarist must first accompany singers for twenty years, then accompany dancers for another twenty years. Fortunately for most us, this . . .
Dance Accompaniment: Sevillanas (part 2 of 5)
The sevillana is a good place to start thinking about dance accompaniment not only because it is the form many dancers begin with, but also because it is a set palo with a pre-determined structure. Moreover, sevillana provides a good starting point for . . .
Dance Accompaniment: Alegrias (part 3 of 5)
The word alegrias is commonly translated as “happiness” or “merriment” and, as you might expect, it is typically played at an upbeat tempo and in a major key (usually A or E). As with the previous article in this series on Sevillanas, the goal of this article . . .
Dance Accompaniment: Soleá (part 4 of 5)
Soleá is one of the foundational forms of flamenco music; it is often described as the "mother of the cante (flamenco song)." The word soleá (which can be used interchangeably with soleares) is a gypsy corruption of the Spanish word soledad . . .
Flamenco Rasgueado
Here you'll find a rundown of the "core" rasgueados that I use most frequently, some variations on those rasgueados that come up in the tabs here at Ravenna Flamenco, some general tips on practicing rasgueado that I’ve found useful, and a four page . . .
Foot Tapping for Bulerías
"When Playing bulerías, should I tap my foot on the first beat of each measure, or the third, or where I feel the beat?" This is a great question for all sorts of reasons--not the least of which being that it was a puzzle over which I personally obsessed for . . .
Free Flamenco Tab and the Internet
I’m occasionally asked about where a person might go to find free flamenco tabs on the internet. In the interest of spreading the word on free internet flamenco resources, here is a rundown of some of what I have been able to find on the web . . .
Gear Review: Condenser Microphones for Flamenco Guitar
Perhaps you’re looking for a first microphone purchase—or maybe (like me) you’re looking to upgrade. Whatever the case, the microphone you choose will have a profound effect on the sound quality of your performance. . . .
Gear Review: The Fishman SoloAmp SA220
"It's a PA . . . and an Amp!" . . . or so says Fishman. I've run the SA220 through the paces with both a solo guitar and small ensemble flamenco set-up. Read on for where I found the SA220 to be strong and where you might want to look elsewhere. . .
Listening for Compás
"I read your 'tips for beginners' and I noticed 'Listen to Flamenco all the Time.' Just wondering if you have any recommendations for a beginner who is completely alien to the 12 beat compás. Ideally something that’ll help me learn about the different . . . "
Palmas in Brief: Hand Clapping for Payos
When I first began studying Flamenco dance, I had no idea how important or difficult Palmas (the Flamenco term for hand clapping) could be. What seemed at the time like a simple task soon unfolded in its full complexity as I clumsily galloped my way . . .
Practice Tips for Beginning Guitar Players
Occasionally in my own cyber-perambulations I come across articles, insight, or advice that strike me as spot on. Such is the case with Evan Harrar's practice tips for beginning guitarists. While there are many such lists out there, few of them are . . .
Returning to A by Dorien Ross [book review]
Being a writer myself (much more so than a critic, anyway), my tendency with novels is to be generous. Let's face it: the creation of any novel is a feat of endurance on the scale of the superhuman. This puts me in awe from page one. Dorien Ross's Returning to A is no exception: from the book's opening pages I'm drawn in and transported . . .
Contributors
Bio and contact information for those brave folks who have braved Ravenna Flamenco's nefarious editorial board and submitted brilliant and insightful articles for the embetterment of flamenco internauts everywhere . . .
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