Interview with David Leiva, guitarist, pedagogue, and researcher of flamenco guitar

In 2013, with the RGB-flamencolive publishing house, I became the official transcriber of the best flamenco guitarist in history… imagine transcribing one of your idols, and that he himself gave me the ok to transcribe him, a dream come true. At the moment I have transcribed the books: Siroco, Zyryab, Duende flamenco, Luzía, Solo quiero Caminar, Cosias Buenas, 3 of the greatest hits and 3 of the falseta anthology, 12 books in total, I have also transcribed Camarón, Enrique Morente, Sabicas, Mario Escudero, Tomatito, Vicente Amigo… The musical transcription and more specifically of flamenco music has several phases; I have my own transcription methodology that I try to follow. The rhythm, melody, and harmony I listen to individuals in order to master the transcription, even the musical essence could be captured on the staff. I always tell my students that man-made instruments can be calmly put into the score, even the interpretation, there are nomenclatures created for it. That said, the most difficult thing to transcribe the teacher is his musicality; his harmony is very difficult to extract, the rhythm in the rumbas is crazy; the interpretation based on Siroco changes it, looks for a form of identity in the dynamics, uses new techniques to create a new atmosphere in the flamenco concert guitar. Paco de Lucía's transcription is very difficult, especially when you mix pieces of harmonic, rhythmic, and interpretive complexity. I am currently transcribing the guitarist's duet records and am immersed in a doctorate on the transcription and work of the master. I am fortunate to do my "Mater at the Complutense University of Madrid" and as director, I have my admired and great friend Paco Bethencourt.