Without this exchange of musical ideas and the rich cultural influences also transmitted, music would rest compartmentalized. Fixed and rooted to one location. One Culture. One Historical identity.It would touch only the locals. Not the World at large. St. Francis' words "Life is a book. If we don't travel, we only see one page" apply equally to Music.

This is particularly true in the case of the Spanish Flamenco Guitar and it's music.To fully come to grips with the evolution of this instrument, we must journey to Cordoba, Spain. The prime date is 711. Just after the Islamic invasion. Accordingly, Cordoba had became a focal point for Islamic musicians.

It is there, at that time, that the Spanish Flamenco Guitar was born. It originated as the Oud, to which a fifth string was added. The name given to the resulting instrument was the "Moorish Guitar", or "Andalucian Nuba."

The next instruments to contribute to the "melting pot" that was the creation of the Flamenco Guitar were the European Lute and the Guitar Latina. Centuries later elements of the "Moorish Guitar" were combined with these two instruments. The result was the Vihuela.

In it's most developed form, the Vihuela had six double-strings (paired courses) made of gut. The tuning of this instrument was closely paired to that of the guitar as we know it today with the exception of the third string, which was tuned a semitone lower.Cypress, spruce and cedar were the preferred woods used to construct the various elements of the Vihuela.

After the creation of the Vihuela, there would be three more stages of evolution necessary to arrive at the Flamenco Guitar. First in line was the Baroque Guitar, a descendant of the Vihuela. It evolved into the Classical Guitar. Which , finally, morphed into the instrument we would today recognize as the Flamenco Guitar.

Equally, if not more fascinating, is the History of Flamenco guitar music and it's original innovators. Although it's rarely accurate to place a definite date or time on the "birth" of movement or genre, there are always people and or events of obvious importance.

Three of those people,each of whom created a legacy on which those to follow would build upon, were Ramon Montoya, Sabicas, and Nino Ricardo.Although like other guitarists of his day, Ramon Montoya began his career in bars and cafes accompanying singers and dancers, he has the distinction of being the first to feature the guitar as a solo concert instrument. Giving it new, and increased status, by confirming that it had a voice of it's own. That must be heard.

Another milestone in the Flamenco Guitar's evolution is credited to the guitarist who went by one name - "Sabicas."His "first" was taking genuine Flamenco guitar Music outside of the borders of Spain. With an unrivalled reputation for technique prowess, Sabicas dazzled International audiences with his blazing runs and quality compositions.

The saddest note in the formative History of the Flamenco Guitar was sounded with the untimely death from liver failure of Nino Ricardo.Hailed as the finest guitarist of his day - and, as such, widely imitated, but never duplicated - "little" Ricardo's playing had a truly unusual and unique tone, due to his upwardly curving fingernails. It's also conjectured among guitar afficianados that Nino tuned his guitar several steps lower than normal.Thus allowing him to play faster, with little apparent effort. It's reasonable to assume that the liver condition that ultimately claimed him at age 68, was aggravated by his long years of performing in the bars of his native Seville.

The evolution and innovation of the Flamenco Guitar Music we enjoy today, is a direct legacy from the accomplishments of these three "Flamenco Innovators."