The difference between classical and flamenco guitar, is mostly -we can say- about the measurements, for ex: from 1st to 6th strings, in classical guitars it is common 57mm or 58mm or 59mm at must, but because in flamenco you need to play rasgueos, alzapua(thumb)etc, (if you are really interested, you can read this in detail how it evolved historically etc, here:
http://www.rdiaz.org/rdpacoart.html ) you will need (to perform properly all flamenco techniques) some 62mm between 1st and 6 strings.
The height of the bridge (namely, from the strings to the top of the guitar)in a flamenco guitar is around 4 or 5mm making a big difference compared to classical guitar.
The action of the flamenco guitar is completely different.
The bracing patterns are different too as you can see here:
http://www.andalusiang.com/enshdoblehoyo-ojopajarofoto7.html
even if the Smallman concept CAN also be used if flamenco as you can see here:
http://www.andalusiang.com/enshdoblehoyo-1200cypress-foto5.html
The strings, which brand, or better brands, because Paco uses every string of a different brand and tension!... oh that’s another fascinating, mysterious, polemical and controversial issue, because of the variety of nuances and timbre’s, row materials, and tones etc, you need to express flamenco music on the Paco De Lucia’s conception, or line …anyway…
The bridge of flamenco guitar is extra flat like this one
http://www.andalusiang.com/enshdoblehoyo-1200cypress-foto17.html
As you can see Flamenco guitar and Classical guitar are of another nature all together...
And what to speak of the difference of the sound …the pick guard or golpeador, the male and female guitars etc...just to mention something about this issue, FEMALE guitar is certainly SUPERIOR in quality trebles, etc, as you can appreciate here:
http://www.rdiaz.org/rdvideo38.html
This female guitar model is:
http://www.andalusiang.com/enspecialclavijas.html
Nonetheless male guitar can be necessary for certain pieces or repertoire.(it can help scrutinizingly reading of the article Paco de Lucía—the only true innovator of contemporary flamenco guitar.)
However we could be discussing this for the length of a whole treatise …this is a very vast subject matter, and a very personal thing, in fact my preceptor Paco does not want me to explain publicly too much, in detail about his opinions and personal realizations on this subject matter... so this much is what he authorize me to teach for my conservatory classes, writing articles etc,.....don’t need to say that intimacy is intimate!..
certain subtleties are a secret…in other words you would have to become his personal disciple to learn all of this intricate topics under his direct guidance etc……
So coming back to earth……..
To grasp the general concept I suggest you to please read this this:
http://www.andalusiang.com/enrevolutionpacoag.html
and
http://www.andalusiang.com/encharacteristicsag.html
Here you can see for yourselves Paco De Lucia’s public opinion about this Andalusian Guitars, he gave with his own handwriting!
http://www.andalusiang.com/eninicioag.html
This piece is a good example on how a flamenco guitar should sound, according to my preceptor Dr. Paco De Lucia,(and for the ones that doesn’t know why I say Doctor see this:
So flamenco guitar according to Paco’s concept & line, sound of a flamenco guitar (male) should be like this:
http://www.rdiaz.org/rdvideo1.html
this guitar is:
http://www.andalusiang.com/enspecialmb1948indian.html
and a flamenco guitar according to Pacos concept & line, sound of a flamenco guitar (female)should be like this:
http://www.rdiaz.org/rdvideo24.html
this guitar is:
http://www.andalusiang.com/ensantoshernandezcypress.html
Generally for live performance (after Paco De Lucia’s Era, read this
http://www.rdiaz.org/rdpacoart.html)
As I was saying this guitar (male)is very practical
the guitar model is
http://www.andalusiang.com/enmarcelobarberorosewood.html
So dear friends this is the best I could answer to your inquiry, for now!
I say often the analogy of trying to use roller skates for going to the ice skating rink… that’s, really speaking, very similar to what happens when we try to play Flamenco on a Classical guitar.
Ruben Diaz
info@rdiaz.org
