Manuel Granados

Manuel Granados biography-details of 5 Flamenco Instruction books w/ CDs below

   At an early age his family moved to Barcelona and his infancy was marked by his home life living next door to the Flamenco family Borrull. He soon began his classical and flamenco guitar studies with Maestro Don Antonio Francisco Serra, studying harmony and composition at the same time.
   As a composer and soloist, with a personal and distinctive style, he began working professionally at a very early age accompanying important artists from the Flamenco world. Heir to the school of Concert Flamenco founded by Miguel Borrull his work as a soloist has brought him around the world, appearing in the most prestigious concert halls and on national and international television and radio.
   Pioneer in the study of Flamenco music theory, Manuel is the author of many original concert and pedagogical works for the flamenco guitar. Of his many publications its worth highlighting two volumes dealing with harmony and composition, Teoria Musical de la Guitarra Flamenca and the CD-Book combinations: Manual Didactico de la Guitarra Flamenca, Estudio Tecnico de la Guitarra Flamenca and Metodo Elemental de la Guitarra Flamenca, that cover everything from technical studies of the instrument to studies based on the characteristic styles of the genre.

Manual Didactico de la Guitarra Flamenca 64 pages Volume 1 book w/ CD $39.95

   The first of five teaching manuals that looks at basic Flamenco styles: Solea, Siguiriyas, Alegrias, Tientos, Tangos,and Bulerias. In notation and TAB. Bilingual edition English/Spanish.

Manual Didactico de la Guitarra Flamenca 72 pages Volume 2 book w/ CD $39.95

   Finishing up with the basic styles examined in the first Volume and introducing six new styles: SOLE√ por bulerias, FANDANGO, TARANTA, GRANAINA, MALAGUENA and RONDENA. Bilingual edition English/Spanish.

Manual Didactico de la Guitarra Flamenca 56 pages Volume 3 book w/ CD $39.95

   The need to improve the musical training of flamenco guitarists has prompted MANUEL GRANADOS to publish the MANUAL DIDACTICO DE LA GUITARRA FLAMENCA. The proposal of this work is to show how is the flamenco guitar played nowadays.

   By combining the classical trends with the modern ones, he has developed a language that flamenco musicians can share with those coming from other styles, such as classical or jazz.

   Finishing up with the basic styles examined in Volume Two. This Volume 3 introduces three new styles: SERRANA, FARRUCA y GUAJIRA.

Bilingual edition English/Spanish.

Manual Didactico de la Guitarra Flamenca 64 pages Volume 4 book w/ CD $39.95

   For the first time in Flamencoís history MANUEL GRANADOS presents us to the ACCOMPANIMENT TO THE CANTE. This aspect of Flamenco requires a special methodology for a mutual understanding between the guitarist and the cantaor (singer), this in turn enabling the harmonious development of the style with artistic expression.

   For this reason, in this volume we find the accompaniment to the cante separated out into three tracks: the first, in order to understand what must result in the accompaniment and to achieve stylistic assimilation, the second with only de guitar, to study how guitar style changes during its development, and the third, in order to practice the accompaniment, only the voice of the cantaor is heard.

   Finishing up with the basic styles examined in Volume Three and introducing el AcompaŮmiento al cante (accompaniment to singing): SIGUIRIYAS, SOLEA, TIENTOS, FANDANGO NATURAL, GRANAINA, MALAGUENA.(Cantaor: Pepin de Torre). Bilingual edition English/Spanish. C.D.Bilingual edition English/Spanish.

Estudio Tecnico de la Guitarra Flamenca, 140 pages Volume 1 book w/ CD $39.95

   In this volume, the technical aspects characteristic of flamenco appear separately for their individual study, thereby emphasizing each of the principal technical combinations that make up the genre. This book is arranged in ascending grades of difficulty, with the intention of creating a working discipline where both hands acquire the maximum security, balance and independence possible, culminating in a series of study pieces that bring into play all of the previously studied techniques.

   In this first volume, directed towards beginner and intermediate students, the exercises are designed to develop a high level of arpeggio technique. Not all of the exercises printed in the book appear on the CD. The principle technical exercises that serve as a reference, leading to the correct evolution and understanding of the rest of the techniques and the study pieces are included.


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