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Guide, http://www. I've been discussing the pivotal role Paco de Lucia had in the advancement of modern flamenco. In his defense, I do not wish to leave him as a two-dimensional individual whose primary contribution was to have a substantial influence on flamenco which is, in addition, if you'll pardon my saying so, a musical type that a lot of audiences
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have no real understanding of; they can not; it is literally foreign to them totally as much as Ulan Bator and Beijing are foreign to us despite the fact that we may have seen a PBS travelogue about them and spent a week or two in each. Keep Checking Back Here was, in a sound-byte, simply without equivalent. He played the guitar with more verve and impressive strategy than anyone else ever had in the past, and I do not believe he has an equivalent among his contemporaries. He did make substantial contributions toward bringing flamenco out of its provincial closet and onto the world stage, from where it has won many admirers and adherents the.

from all around the globe. While doing so, I believe Paco and the whole flamenco music/ recording/film/touring culture that was with him and behind him did change something essential about flamenco that is forever lost. What is acquired in its stead is a brand-new sensibility, a brand-new sound and look that have worth within a various context, and ever so much more business clout. However, I reiterate: I believe that flamenco's birth pains and change into something other than what it began as were inescapable the moment anybody started to play for paying audiences rather than for loved ones. As it occurs, in Paco's case, it is necessary to keep in mind that those audiences pressed him to impress them with his technique and to stop wasting his time in accompaniment of tune. So Paco needed to open with.

Percusion flamenca (Zapateado) by Paco de Lucia - Full Score Guitar Pro Tab  - mySongBook.comLa fabulosa guitarra de Paco de Lucía - Wikipedia


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a difficult picado, some far-out chording, some complicated counterpoint, all of which drove the audience wild with approbation and killed beyond repair the inspiration of Fosforito's cante. Paco was hopelessly ashamed, Fosforito handled a thin smile, and the insensitive masses thought it was all fantastic. "Mentioning the song and the singing, it was as I mentioned above CENTRAL to the old flamenco whose events were, essentially