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In the opinion of Richard Bruné this rise in number and expertise has everything to do with a larger gypsy population and a correspondingly higher number of guitar-players and musical cafés in the city making higher demands on the builders. It is in the 19th century that Granada comes into its own and takes over as a centre of innovation and spreads its knowledge to the rest of the country through the emigration of guitar-makers and the apprenticeship of guitar-makers from other provinces. We do know from surviving instruments and their characteristics that Sevilla and Cadíz were more important centres of guitar-building and of innovation than Granada during the 18th century. Surely that indicates a certain level of makers from the province of Granada. Furthermore, the best-known violin-maker Spain has ever produced, José Contreras, hailed from Granada. Granada may or may not have been an important centre for instrument-making back then but we do know that Rafael Vallejo built a very special guitar-psaltery for King Carlos I in 1792. Alonso de Buitrago, Alonso Vega, Juan de Alcaraz and Diego de Atienza are just a few names that have been preserved. Let’s go back hundreds of years and see what we can find.Īlthough surely there were instrument makers in Granada well before the 16th century it is only from that time that we have records and names.
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The only place in the world with more guitar-makers per capita is Paracho in Mexico.
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There are a number of factors which contribute to this reputation for excellence and the sheer numbers of guitar-makers. Why does Granada always come up when we speak of fine artisan guitars? Why have so many makers from all over the world made pilgrimages to the workshops of the Granada guitar-makers to pay their respects and to find out what we do differently here? Well known U.S., German, British, Canadian, Danish, Mexican and Belgian makers have spent time here and that doesn’t include those who learned from or were influenced by Granada makers and then went on to become great makers in their own right. Enjoy! The Granada School of Guitar-makers, Part 1 by John Ray
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All of these factors, in my opinion, combine to make the Tansman volumes "a must" for the student, and therefore, the teacher.Guest Post by acclaimed Granada-based luthier John Ray. The paper is of higher quality than most guitar editions, as well. Finally, both Tansman volumes are praiseworthy for ample and accurate fingerings and adequate spacing between staves, which affords room for notes or comments. As such, they provide a fresh source of beginning pieces for the student, whose repertoire relies so heavily upon the works of 19th century guitar masters. Although not specifically designed as such, both volumes of Douze Pieces Faciles seem to have been written especially for children, or for the young at heart of any age. The pieces are a unique admixture of old and new elements "a la Tansman". Whereas Bartók's For Children were composed within a modal structure, the Tansman pieces are tonal with a definite contemporary flavor despite such titles as "Sarabande", "Minuet", etc. The Tansman pieces have a certain kinship with Bartók's For Children in as much as Tansman's Polish heritage is apparent in several of the Douze Pieces Faciles but the similarity stops there.