16 Etudes for classical, steel-string or electric guitar By Jeff Pekarek Jeffery J. Pekarek 6711 Springfield Street San Diego, CA 92114 Copyright 4/24/2000
| Introduction | 1. Little Virgo | 2. Powdered Wigs | 3. Puntos Perfectos |
| 4. Polka and the Jolly Roving Tar | 5. Beyond Virginia | 6. Scordatura | 7. The Crusades |
| 8. CARPATHIANS I: Hungarians and Rumanians | 9. CARPATHIANS II: POLES AND ASHKENAZIM | 10. CARPATHIANS III: THE ROM | 11. CARPATHIANS IV: TRANSYLVANIAN SAXONS |
| 12. ANDALUCIA | 13. THE SLAVE COAST | 14. ROOTS OF JAZZ | 15. SCALES |
| 16. PARNASSUS, THE ABODE OF THE MUSES |
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12. ANDALUCIA Sometime during the first half of the nineteenth century, the guitar became popular among the Rom of Andalucia, in southern Spain. Before that time, Gypsy music, which is essentially vocal, was accompanied by violin. Within a few generations, the Rom guitarists of Andalucia had developed an array of flashy new techniques for the instrument, diverging from their classically trained Spanish and Italian counterparts. The Flamenco guitarist, though usually unable to read music, grew up in a vibrant tradition, singing and clapping along with older family members, handling musical instruments, and eventually receiving direct instruction in the guitar. |

