I found your entry interesting thus I’ve added a Trackback to it on my weblog …

I am glad and honored to have you comment on our work. Thank you.

You are absolutely correct about getting the various opinions as to the origins of flamenco and what constitutes “pure” flamenco – just watch the video interview. It is quite the polemic issue.

Yet, in order to make some sense of the whole thing we can look to its harmonic “skeleton” and examine its parts to determine one of the many, yet vital, influences on flamenco. As Manolo so eloquently said in the video the Andalucian cadence is a marker from which we can begin to speculate as to it true origins. The ideas we present here are not our ideas – we wish! – but that of one of the arts greatest pedagogue, composer, performer, and artist. His opinion combined with our research is what lead us down this rabbit hole and we are fully prepared to defended it with valid primary sources – of which Vincenzo is but one.

The response we have been getting is great and has us wanting to write a second article to deal with some of the issues being raised. Hopefully, the next article will more clearly define our position and give some sketches (our ideas) as to how it came to be that we find this marker in flamenco; although, that is not so clear.

Thank you for furthering this important discussion. Corey is in Cordoba studying with Manolo as I write you this so if anyone has any questions that they would like to have Manolo answer directly please feel free to drop us a line on the Youtube channel Flamenco Professor or drop us a comment here.

Thank you all for the interaction.

Best to all,
JAR

Even regionally today in Spain where small pockets of “pure” Flamenco are known to exist such as Huelva,one can see regional differences from other areas of Andalucia. It is obvious that several cultures have left their fingerprint.

But their are some interesting sources that tell us what the old school of Flamenco guitar really was.

Julian Arcas was known equally as a classical and Flamenco guitarist, and perhaps the first concert Flamenco artist performing many Boleros. Even Fernando Sor sheds light on the bBoleros he heard in Sevilla with “La Puente Triana”, and finally Bocherini’s Fandango in his famous quintet revived to concert audiences by Julian Bream shows us Flamenco in the 18th century.

I mention these as all of these pieces demonstrate the Bolero which is the ancestor of todays highly synchpoated Bulerias. This 12 step rhythm has come a long way from a 6/8 without ancient Moors and Greeks intervening.

I remeber learning the Ramon Montoya form of Bulerias from Celedonio Romero who heard the Montoya version first hand, and look at what we play now as a Buleria and can only conclude that Flamenco is always evolving-and it is world music from Iberia and its ancient roots.

I know that if you get ten Spaniards in a room you will get ten opions.

Please visit http://www.youtube.com/user/flamencoprofessor and view our new video slideshow with many pictures.

Thank you for reading.

JAR

All the very best.

Rowland Schultz.

Thank you for your spirited comments. We look forward to answering any questions that individuals may have, but it would also be helpful to read more of our work as to get a better grasp of our position. It is difficult to write an article (non-scholarly) that tries to encapsulate the influences on flamenco – a book would better do (which we are working on).

As to your comment regarding the Greek influence on Persian/Arabic culture (I think you may have that confused), you are correct that there is a tremendous amount of influence. The period after the death of Alexander the Great left the major powers (in the East/West) in significant upheaval from which Greek satraps asserted influence. It is a complicated history and one which others have a better grasp than we (try wikipedia for a good overview).

As to your reference about an “Oud players perspective” and temperament please read my article entitled “A speculative view of Greek tonality on fretted chordophones” (it also addressed the issue with non-fretted chordophones), which I could send you a copy. Yet, I am sure, you being an accomplished musician, have an understanding of the overtone series and can attest to its nature in determining the ratios on any stringed instrument – much like Vincenzo.

The interview with Manolo should answer all of your other concerns, if not please feel free to write to us.

Thank you so much for your interaction. We hope to hear from you soon!

Best,
JAR