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各位琴友好：）
感谢Peter岛主的鼎力支持，为我和大家能有一个交流学习的空间，提供了极大的帮助:)
回想起来第一次接触Flamenco音乐，应该是电影《佐罗》的主题歌吧，虽然说不出是什么名字，也不知道究竟唱了些什么：）但那伴奏确实给我留下了非常深刻的印象，那样的放荡不羁，那样的充满智慧。后来在一盘古典吉他欣赏磁带上，听到了一首独特的曲子，当时刚刚开始学吉他没多久，是在想象不出那是怎么弹出来的，那种节奏的感觉实在令人无法忘怀，于是我开始寻找这种曲子的曲谱，名字我记得——《方丹戈》。后来买到了北体出的那两本《弗拉门戈吉他教程》，终于找到了这首曲子：）这首曲子断断续续我学了三年，终于有一天我的几位琴友说感觉不错，呵呵，从那时起我开始真正研习Flamenco吉他。
闲言少叙，进入正题吧。
Flamenco是西班牙的民间音乐，其形式以歌舞为主，吉他是其中不可或缺的乐器，在传统的Flamenco中，吉他基本上就是伴奏乐队的全部，而打击乐则是歌舞者与听众的拍掌、跺脚等等。在咖啡馆，聚会上，甚至街边，当人们和着节奏唱歌跳舞时，所有悲伤的，欢乐的情感，抑或嘲弄，炫耀的心理都在这歌舞乐声中得到宣泄，得到满足，而其中歌舞者和乐手包括观众在此过程中的默契尤其令人动容，这也许就是Flamenco的精神——西班牙民族的精神。
耳濡目染，这恐怕是认识一宗事物最好的方式了，下面的几段视频为大家领略Flamenco音乐的魅力抛砖引玉吧：）
注：以下视频来自网络和个人收藏VCD的剪辑，但愿没有侵犯版权的嫌疑：0
咖啡馆...
聚会（剪辑自《光与影》）
Flamenco歌曲(Bulerias)
Flamenco舞蹈(Farruca)
Flamenco舞蹈(Buleria)
吉他从Flamenco音乐中逐渐分离出来而形成一种流派，仅仅不到50的时间，但是其发展（包括曲目和演奏技法）确实令人惊奇，现在在世界各地都有Flamenco吉他爱好者，随便在搜索引擎里查找一下，就会有成千上万的网页在讲述Flamenco的各个方面。
Flamenco吉他的演奏风格奔放而富于个性，节奏变化多端却不会脱离约定俗成的框架，再加上即兴演奏为Flamenco所推崇，这就给演奏者以极大的空间去表现音乐。像Paco de Lucia的《Rio Ancho》，恐怕已经是10多个“版本”了吧，包括其本人演奏的都会随着不同的环境，不同的合作者而产生很大变化，这在古典音乐世界里是不被提倡。
在下面的章节里，我将为大家介绍几位Flamenco吉他演奏家的部分音乐作品，以期给各位琴友全面了解Flamenco吉他音乐发展的一个脉络。大家可以以自己的审美观点来感受、体验，这是学习Flamenco吉他的重要方式——以自己的心灵去接触。
内容很多，希望大家能踊跃发表自己的看法：）
第一位介绍的是Carlos Montoya（卡洛斯.蒙托亚），现在我们听他的音乐作品，似乎真是有一种“古典“Flamenco的味道：）
Peteneras Del Cafe De Chintas
BoleroMalorquin
Malaguena
Nino Sabicas(萨比卡斯)是一位杰出的Flamenco 吉他大师，其辉煌的艺术成就使世人领略了Flamenco吉他的独特魅力，特别是对于亚洲吉他爱好者来讲，他几乎是Flamenco吉他的传道者。
Bronce_Gitano_Soleares
Campina_Andaluza_Alegrias
Punta_y_Tacon_Farruca
Aires_de_Triana_Bulerias
Sabicas的一段视频
Niño Ricardo(里卡多)也是一位不可不知道的Flamenco吉他大师，关于他的作品我接触较少，据说他的即兴演奏获得了广泛的好评。下面这段文字来不及翻译，大家自己看看吧：）
Manuel Serrapí Sánchez. Sevilla, 1904 - 1974. Guitarist. According to his biographer Humberto J. Wilkes he assimilated the best of the great sublime performers who preceded him in time: Montoya, Javier Molina and Manolo de Huelva. "He learned from them as the masters they were and, as a master, he surpassed them. He took everything that could make him richer, and he placed his mark, his personal stamp upon it. When Niño Ricardo integrated the qualities of the triangle, he was able to break free and take off, to create his own style. He was then forty, had a very solid base and was internally mature. He took Ramón Montoya’s harmonies, arpeggios and sweetness, but he then gave more relief to his falsetas. He took Manolo de Huelva’s rhythm, grace and that so special grace and air, above all in bulerías. The influence of Montoya on Ricardo’s playing is probably the most noticeable.González Climent has insisted as to this more than once. In 1957, for example, he wrote (Cante en Córdoba): "Niño Ricardo is the convergent synthesis of the classical guitar and flamenco, and the guitar has had a dizzy evolution in modern times. It has become perfectly possible to harmonize the solemnness and suggestive schemes of Don Ramón Montoya and the most exquisite contributions to present playing, in which precisely Ricardo is absolutely the master". In 1964, he added (Flamencología): "Niño Ricardo rationalizes the intuitive beauty, the linked graceful although incisive suggestiveness in the guitar of Don Ramón Montoya". There are those who consider Ricardo the best accompanying guitarist of all times.
González Climent himself points out that then - 1957 - there was the portentous circumstance of there being no singer up to his standard. He explained his own philosophy of the matter in the following terms: "The guitar and guitar playing must dialogue together. Neither must the cante silence the guitar, nor must the guitar drown the cante ..." The only disagreement heard, it seems, among such great appreciation, was that of the singer Aurelio Sellés, who accused Ricardo of being "incomplete, disorderly, abusively personal. He plays out of the cante and the compás. He could not match me, at least". He acted in films. Time has gone by and Niño Ricardo has not last that enormous prestige. The fact is that he valued his art, that of the guitar, more than anything else. On an occasion he said: "I have cried when watching Chichuelito bullfighting a young bull from Carlos Núñez. Whoever does not feel that with the guitar is lost!".
Juncales (Bulerias)
Marisma de Huelva (Fandango)
Almoradi (Farruca)
Espelata (Alegrías)
Gaditanas (Soleares)
Paco Peña(宾纳),对于学过欧永才先生的吉他教程的人来说，对宾纳应该不会陌生，他的音乐充满浪漫气息，旋律优美，发音清晰，相对来讲Flamenco味道不是特别浓厚，但更容易为东方人所理解。
Francisco Peña Pérez. Cordoba, 1942. Guitarist. One of the most unique flamenco guitar careers, as he were to London when very young and, from there, tours the whole world, either as a concert guitarist, or leading the flamenco shows he occasionally forms to tour different countries. He founded a degree course in flamenco guitar at the Conservatory of Rotterdam based on five courses, of which there is nothing similar in Spain. He directs the courses himself, on periodic visits on which he instructs the teaching staff as he sees fit. Before, in 1980, he created the International Guitar Festival in Cordoba, which became very important. In 1983, he won the Ramón Montoya Prize for the Best Concert Guitarist. As a composer he is the author of almost all the music he plays, especially a very beautiful "Flamenco Mass" which he recorded with participation by flamenco performers and the British choirs of St. Martin in the Fields.
Herencia latina (rumba)
A la feria (sevillanas)
Santuario (soleares)
A paso lento (tientos)
下面介绍的是大名鼎鼎的paco de lucia(卢西亚)，如同古典吉他世界中的塞老，卢西亚堪称flamenco吉他的一个传奇，关于他的各种文字太多了，也就不一一引用了，总之听他的冬冬自己心理活动很复杂，的确不是一个好字了得。卢西亚的CD很多，我只能按照年代(1972~1998)抽取几首代表作发在这里。大家听听lucia版的阿兰胡埃斯：）
 
01.RIO DE LA MIEL (buleria)
02.Tio Sabas
03 - La barrosa (Alegrias)
03.Alcazar De Sevilla
03.Castro Marin
03.Concierto De Aranjuez Allegro Gentile
03.Rio Ancho
04.Chiquito
04-Farruca De Lucia
06.La Vida Es Un Espejo (Tangos Paco De Lucia)
[URL=http://www.guitar86.com/upload/paco/lucia/06-Cepa Andaluza 'Bulería'.mp3]06-Cepa Andaluza 'Bulería'[/URL]
08.Cancion Del Fuego Fatuo
08.Rumba
10.Por Cositas Malas (Siguiriyas)
大师的风采
上面介绍了几位Flaemnco吉他大师和他们的部分作品，事实上在Flamenco音乐的发展中，同样出现了古典和现代的矛盾，同样存在着继承和创新。许多朋友接触Flamenco音乐大部分是从一些现代吉他音乐（如激情吉普赛、太阳神、Amigo、吉他双雄等）中得到了解的，这本身也说明，Flamenco吉他音乐与其他流派之间借鉴、融合的趋势是明显的，在赏析的最后一次更新中，我想给大家介绍一些汲取了Falmenco音乐元素现代吉他音乐：）
[此贴子已经被作者于2005-3-3 20:25:12编辑过]
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窥视卡
雷达卡
发表于 2005-1-17 18:40:00
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显身卡
发表于 2005-1-17 22:03:00
楼主
