By Manuel Granados
Este método didáctico abre nuevas vías en l. a. difusión de los angeles guitarra flamenca. Hasta el momento es el único libro pedagógico de flamenco creado en España.
Este es un texto útil para todos los músicos y aficionados que deseen aprender flamenco, así como para los melómanos interesados en distinguir y comprender sus diferentes estilos (soleá, siguiriyas, alegrías, tientos, tangos y bulerías). Está escrito en cifrado y solfeo.
Manuel Granados, nacido en Jaén, España , es Catedrático de guitarra flamenca del Conservatorio more advantageous de Música del Liceu de Barcelona al mismo tiempo que compositor y concertista. Tiene publicados numerosos libros de didáctica musical, además de sus propias obras de concierto originales.
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Additional info for Manual Didáctico De La Guitarra Flamenca - Vol 1
Riemann-Festschrift (Leipzig: Max Hesse, 1909), pp. 60–76. Modern discussions can be found in Suzannah Clark, ‘From Nature to Logic in Schubert’s Instrumental Music’, PhD dissertation (Princeton University, 1997); Daniel Harrison, Harmonic Function in Chromatic Music (Chicago and London: University of Chicago Press, 1994); Dale A. Jorgenson, ‘A R´esum´e of Harmonic Dualism’, Music and Letters 44 (1963), pp. , The Cambridge History of Western Music Theory (Cambridge: Cambridge University Press, 2002), pp.
37. , Beethoven, Goethe und Europa: Almanach zum Internationalen Beethovenfest Bonn 1999 (Laaber: Laaber-Verlag, 1999), pp. , pp. 63–8. Jorgenson, ‘A R´esum´e of Harmonic Dualism’, p. 37. This deﬁnition is put forward, for instance, by Peter Rummenholler. ¨ See his ‘Moritz Hauptmann, der Begrunder ¨ einer transzendental-dialektischen Musiktheorie’, pp. 28–31. It is obvious that such revisionist attempts often go hand in hand with the desire to cleanse particular theorists from the taint of harmonic dualism and rehabilitate them as serious theorists.
Heathcote as The Nature of Harmony and Metre (reprint New York: Da Capo Press, 1991), p. xxxviii (translation modiﬁed). 23 The major triad was for Hauptmann the embodiment of the three dialectical moments in the simultaneously sounding elements. 24 All other intervals, he contended, were compounds of these three (the minor third, for instance, being the difference between the ﬁfth and the major third). 3, as the product of these intervals in three dialectical steps: the octave (which here appears, at stage (I), as the unison) as the manifestation of unity and identity; the ﬁfth (II), which Hauptmann heard with respect to (I) as a ‘hollow’ duality, and the synthetic third (III), which re-unites the opposed two components.