Tango De Los Ojos Montoya Guajiras Montoya Huelva Montoya Zambra Montoya Zapateao Montoya Alorno Y Verdial Montoya Louis Blues Montoya Add to wishlist Added to your wishlist. You can manage your wishlist here. You're not signed in You must sign in to manage your wishlist. Sign in. Customers also bought Like Soul!

Louis Blues. The outbreak of World War II brought him to the United States where he began his most successful days as a musician, and frequently toured with the dancer La Argentina, bringing his fiery style to concert halls and universities. He also accompanied orchestras.

During this period he made a few recordings for several major and independent labels including RCA Victor, Everest and Folkways, performing traditional flamenco music such as Farruca. By the end of the war in , his repertoire had broadened to include blues, jazz and folk music. He again toured internationally, and was the first flamenco guitarist to tour the world with symphonies and orchestras, and dominated the field of flamenco in the U. During his career he also performed on television and recorded over forty albums, including Suite Flamenco, a concerto he performed with the Saint Louis Symphony Orchestra in His performances helped popularize flamenco guitar music worldwide.

Montoya is credited with having transformed flamenco guitar music into a separate music style, beyond being a traditional dance accompaniment. He adapted flamenco to other genres of music to create his own recognizable style, becoming an international star. However, his style was not particularly appreciated by some serious flamenco students, who considered it less traditional than many others.

Many of his works do not even keep perfect tempo, increasing and decreasing in speed almost whimsically. He was admired for the speed of his picados and found popularity on the international stage as a result of this technically impressive pace. For the quicker picado at bar 51 I switch to apoyondo in order to give the run more clarity. If this particular stretch is too fast for you, you can also play it in eighth notes instead of eighth note triplets by making the phrase a straight run down the scale, instead of one that moves up and down, as written.

The rhythmic section at bar 65—and other sections like this elsewhere in this arrangement—are prime spots for a dancer to do some fancy footwork. The length, arrangement, and variations will depend on the letra he or she sings.

Adding a copla section such as this can be a good way to give shape and texture to your arrangement and can make a good alternative to simply piling on more labor intensive falsetas.

A copla section also gives you a chance to introduce some passing chords and chord variations, both of which make for a nice harmonic break from a strict A-E7-D diet. Played at a brisk pace, this arrangement works out to be a little over three minutes long.