Adapting Traditional Flamenco Music for The Modern Marimba Artist

This document is a compilation of information and exercises for the percussionist to learn how to play Traditional Flamenco on marimba. The document contains a brief history of flamenco and the explanation of the elements of four different palos flamencos (subgenres) to introduce the marimbist to the basic musical elements and structure of each palos flamencos. It also includes musical exercises written specifically for marimba. These exercises are traditional components of authentic Flamenco music and can be used in performances as a soloist or as part of a Flamenco ensamble.Flamenco music has three main elements: El cante, el toque, and el baile. This document is focusing on the instrumental element el toque and also developing some techniques for the marimba player. Flamenco subgenres called palos flamencos present features like time signature, harmonic progression, tempo, and tonality. The palos can share some of the features with other palos, just like a deck of cards. In this document four of the most popular palos are being studied for the marimba player: Solea, Bulerias, Tangos Flamencos, and Rumba Flamenca. Solea is considered the first flamenco subgenre derived from the Spanish. It is one of the Bulerias is the second palo in this document. The rhythmic structure is very similar to solea, with light variations on the accents and the tempo and it is also considered one of the most important subgenres. Tangos Flamencos are derived from Afro-Cuban rhythms and the Argentinean Tango due the immigration from the Americas to Spain. Tangos Flamencos are considered an important subgenre among flamenco artist, reason why it is included in this document. Rumba is also an Afro-Cuban rhythm spread along Central and South America and it was also “exported” from the Americas to Spain and even though Rumba Flamenca is considered a minor palo it is what worldwide is known as Flamenco music. “Adapting Traditional Flamenco Music for the Modern Marimba Artist” also includes transcriptions and ideas for how to solve the unique guitar effects in flamenco music to be played on marimba. The exercises and excerpts are written for 4-mallet marimba techniques but some of them including the appendix can be played with two mallets.