Stephen Faulke made me a "working man's" guitar after Santos Hernandez and Barbero, from the days when the distinction between classical and flamenco guitars was less defined. In many ways it's a simple guitar, cypress back and sides, but it sounds and plays great. The question was what to play on it.
I started looking at the Guitar Method (Flamenco) by Rafael Marin, published in 1902. It seems to connect the southern-influenced pieces of Arcas with classical and genuine late 19th-century flamenco (as far as my limited knowledge can make out). In short, I find it a fascinating book. You can download it for free from my site, and read more of my thoughts about it, which will be expanded in due course.
There are no profound pieces, but for guitar historians it is full of interesting things. For instance, here is a Solea by Arcas, but not the long rambling one we might have become used to. This one is shorter, tighter, and fun to play. I'm trying to develop the rest-stroke, which I haven't really done for 25 years! But it will give you an idea of to tone of the repertoire in the book. And, of course, I play without nails...
Interesting Rob. The Solea tenuously reflects Soleares, while the Peteneras is definitely Peteneras.
With respect to the PMI tremolo, I have an experiment for you if you would like to try it. If you play PMI, why not just double the MI before returning to the bass note, and so you get PMIMI, a really good four treble note tremolo, which is what I use myself.
Stephen put a neat touch on the headstock - he duplicated the hole in the headstock that was frequently seen back then, which presumably was there to hang the guitar on the wall.
Classical and Flamenco guitar lessons via Skype worldwide - Classical and Flamenco guitars from Spain
Thanks for your comments. I could of course try pmimi, but in this instance I was doing what was written, but I will give it a try later today. What I found interesting (though on reflection, somewhat obvious) is that with fewer notes after the thumb, the thumb keeps returning more quickly. This imparts a slight impetuousness to the music, which can be quite interesting. I'm not suggesting we play all tremolo this way, just that it is interesting in itself.
Yes, Stephen enjoyed himself with this guitar I think - he probably always does!