Diploma in Music Education, expert in pedagogy, neuropsychology of education and technical specialist in Music Therapy. He made his debut on June 18, 1998 at the Peña flamenca de Huelva giving a concert, since then he became part of the official playing group where he also taught for 12 years.
Later founded the Asociación Cultura la Cavaera as a technician and head teacher. He specializes in accompanying singers giving guitar classes through a unique style of teaching, based on childrens emotions and the way they learn.
Antonio has respresented Huelva in 3 tours of Andalucia organised by the confederation of Andalucian Flamenco Clubs.
Performed at the bienal de Sevilla in 2004, represented Huelva in 3 editions of the World Flamenco Fair and played at the European Championships in Portugal.
The Pragmatic Method of Unconscious Music Education (P.U.M.E. Method) is based on a series of resources for learning the guitar and music in general in a fast and easy way that does not overwhelm the student.
Through practise and study as a guitar pedagogue I understood that there were many teaching methods that show us how to play the guitar but none that tell us how to study. I saw this as an oportunity to fill a void in music education as I have found that inacurate practise can lead to a lack of motivation.
I have always been interested in all musicians, especially those guitarists who have a distinctive playing style. After analysing these musicians I came to the conclusion that their individual style is a result of repeatedly using the same movements, rescources and rhythmic cells. For example when playing a falseta this will have the same rhythmic values from the beginning to the end, there will be no abrupt changes until the remate or climatic ending of the music. An example of this would be to start a falseta by using the arpeggio technique and continuing the falseta with this technique until the final closing phrase which will now be given more emphasis and intensity.
If we analyse great historical musicians like Mozart we find that his way of composing was simple and fun. It is clear that most of his music is based on a particular theme with the same rhythmic cells which are in turn replaced by others that have a similar motive to the original. By working with the guitar in this way we get excellent results in just a short period of time due to breaking down the two most difficult obstacles of learning, these are: Control of tempo and mastery of technique.
The first obstacle can be overcome by using falsetas with connected rhythmic cells. The mastery of technique is overcome with the unconscious exercises that are practised when not playing the guitar, thus saving a lot of time.
Over the years I have been able to develop a variety of different falsetas that I have performed in public in order to observe the reaction of the audience. I wanted to see which falsetas produced emotions of euphoria or as we say in flamenco, those that have “Duende.” To my suprise the most well received were those that followed a fixed structure without being over complicated with melodic or rhythmic variations. As a result of these findings I have dedicated myself to prepare a comprehensive system for learning including resources that take into account the time that the student has available.
I believe that a teacher should provide student with the most comfortable and fastest way to get good results. This does not mean that what I have prepared is an easy method, rather I think it reduced the chances of the student losing motivation and giving up.
We must understand that learning to play the guitar takes time and that perseverance is very important as well as having the appropriate learning material and following a propper method. In this way learning will be faster, more effective and more enjoyable for the student.
Played with many of the best Flamenco singers including: Paco Taranto, Naranjito de Triana, Manuel Lombo, Guillermo Cano, Argentina, Rocío Díaz, Jerómo Segura, Miguel de Tena, Sebastián cruz, Antonio Saavedra, el Pecas, Pepe el marismeño, el brujo, Tina Pavón, Rocío Márquez, Marcelo Sousa, etc. Has also taken part in 15 circuitos de fandangos organised by the Flamenco Clubs of Huelva.