193 pages - ISMN M-801224-27-2
English / Spanish

This volume includes transcriptions, comments and analysis of the following pieces:

• "Yerbagüena (Oriente)" (rumba) This piece is a duo of the guitars by Pepe Habichuela who plays with the capo on II in D major with the sixth string tuned down to D, accompanied by Josemi Carmona playing in E without the capo. The singing verse has been transcribed in its entirety for the second guitar or any other instrument, depending on the wishes of the musicians involved.
• "Bangalore Krishna" (bulería). This is a dialogue between the guitars by Pepe and Josemi and the Bollywood Strings. Pepe plays por arriba (Mi Hijaz) with no capo, and Josemi, por granaína (B Hijaz), with the capo on V. In addition to both guitars, the most important parts played by the Indian musicians, as well as scat improv have been transcribed for the second guitar, which, conveniently enough, doesn't play during the parts in question.
• "A mi chaché Miguel" (soleá). This magnificent guitar solo is another demonstration of the depth and beauty Pepe Habichuela is capable of reaching in the soleá, the king of flamenco forms. Irreplaceable for any guitarist.
• "Se la llevó Dios" (malagueña de Cádiz). This is an encounter between two authentic maestros of flamenco: singer Enrique Morente and guitarist Pepe Habichuela. Both the guitar and the singing have been transcribed completely, to the last embellishment. A must for any student of flamenco accompaniment. The synchronicity between the two artists as well as the purity and quality of their interpretation is truly amazing. 

Each volume includes:

• Transcription of each piece in notation and tab with complete both hands fingerings
• History of the form
• Flamenco modes, chords and tonalities
• Compás, palmas and foot marking, which is essential for understanding of flamenco rhythms and, nevertheless, is never spoken about in flamenco manuals.
• Analysis of the most difficult falsetas with explanations and advice as to technical execution.
• List of generic rasgueados.
• Glossary of flamenco terminology
• The symbols used in flamenco writing

José Antonio Carmona Carmona, Pepe Habichuela, is born in 1944 in Granada, in the heart of one of the most prestigious gypsy families in the world of flamenco 'Los Habichuela’. Grandson of 'Habichuela el Viejo’, son of uncle 'José Habichuela' and brother of Juan, Luis and Carlos Habichuela. No doubt Pepe is one of the most gifted flamenco guitarists of his time, already performing in the legendary tablao 'Torres Bermejas' in Madrid at an age of 20, accompanying the Marchenas, Valderrama, Camarón and Enrique Morente. He belongs to the generation of pure and earthy flamencos being a leader, an authority in the accompaniment of singing. His contemporaries are Paco de Lucía, Camarón, Morente, Sanlúcar…all paving the way for the young flamencos today and encouraging the enormous popularity enjoyed nowadays. Pepe learned flamenco guitar from Sabicas and Mario Escudero and provides a very personal and persuasive influence, hence his compas and sensitivity, to his son and nephews (Ketama), Raimundo Amador and José Soto 'Sorderita’. Pepe was the first flamenco artist that could record for 'Nuevos Medios’ which distributed his first album 'A Mandeli’ worldwide. His second CD 'Habichuela en rama' was produced in collaboration with his son José Miguel Carmona. When Pepe, in 1982, participates in the tribute to maestro Sabicas in the unique setting of the Gayarre theatre in Pamplona Spain, the city dedicates its fiesta ‘ anfermines' to Pepe rewarding him with the gold medal. In 2001 his 3rd album 'Yerba Güena’ made history. Recorded in Bangalore (India), Barcelona and Madrid with the collaboration of the Indian orchestra 'The Bollywood Strings’, the famous 'Yerba Güena’ album represents the solemnization of an old chimera...the natural, roots driven, historical fusion between flamenco and classical music of India.

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