Berto Boyd began his musical training on the piano at age 5 and has been playing guitar for over 30 years. A rigorous musician and a careful researcher, Berto has studied in Spain and performed throughout the United States with some of the world’s finest Flamenco, Classical and Jazz artists. Born into a family of artists, which includes famed lead singer, Brandon Boyd of the multi-platinum band Incubus, he is one of the rare and few Americans who has dedicated his musical dreams to mastering the art of the Spanish guitar and composing original Flamenco music.
He currently resides in Portland, Oregon where he is musical director for Flamenco Pacifico, artistic director of the Corvallis Guitar Society and the owner of the international guitar instruction series, Flamenco Guitar Class. His first original solo publication “12 Flamenco Etudes” was recently released in February 2018. Berto has artist endorsements by Hannabach Strings, MiniFlex Mics, and Shelton-Farretta guitars.
Berto’s debut album “Esmeralda” was released in 2003 featuring all original Flamenco compositions. In 2018 he was a featured soloist with the Salem Philharmonia Orchestra with his virtuosic interpretation of the Concierto en Re Op.99 by Mario Castelnuovo-Tedesco. In 2017, he released the debut album “Convivencia” with his group Flamenco Pacifico which was nominated for “Best World/Global Fusion Album of 2017” by One World Music Awards. Additionally in 2017, he performed in the finale concert of Chintimini Chamber Music Festival Classical works by Castelnuovo-Tedesco and Boccherini with a string quartet. In 2015, he was commissioned to transcribe the monumental guitar score for Avalon – Suite for Flamenco guitar and Chamber Orchestra by Jose Luis de la Paz, which he performed during its’ debut at the Miami Dade Auditorium.
Other performance credits highlights include: Opening for the Gypsy Kings at Britt Fest with Flamenco Pacifico in 2015 as well as performances at the Oregon Shakespeare Festival and Oregon Country Fair 2015 and 2016, SOU Recital Hall and Pistol River Concert Series, “Flamenco Guitar – Past * Present * and Future” with Ben Woods at the Jewelbox Theater in Seattle, WA 2014, “An Evening of Guitar” with Berto Flamenco y Ritmo Gitano at PCPA Theaterfest in Santa Maria, CA 2008, Co-Musical Director/Guitarist for “Calle Flamenca” with Bailes Ferrer in Miami 2006, Musical Director/Guitarist for “Flamenco en Concierto” and “Tarde Flamenca” at the Fountain Theater in Hollywood, CA 2006, and Musical Director for “Arte y Pasion” with award winning Flamenco dancer Timo Nuñez at the Center Stage Theater Santa Barbara, CA 2004.
In 1999, Berto traveled to Sanlucar, Spain to study with the famed Flamenco guitarist/composer/recording artist Gerardo Nuñez. In 2003, Berto met his good friend and mentor – virtuoso guitarist & composer, from Huelva, Spain, Jose Luis de la Paz (former musical director for the “Ballet of Cristina Hoyos” for 10 years) in Mendocino, CA. In the United States, Berto has attended and participated in master classes with Grammy award winner David Russell, Christopher Parkening, Pepe Romero, Gerardo Nunez, Manuel Barrueco, Juan Manuel Cañizares, Paco Jarana (musical director for Eva La Yerbabuena), Gaspar Rodriguez (musical director for the National Ballet of Spain), and Rafael Montilla (guitarist with the company of Paco Peña). He has also studied music theory and analysis formally at Ventura College with Dr. Burns Taft, composition with Grammy nominated composer Miguel de Aguila, Robert Lawson, Luis Muñoz, and Adam del Monte. Classical Guitar studies with Carlos Gonzales, Matthew Grief of the Los Angeles Guitar Quartet, Tavi Jinariu, and James Bishop Edwards. Brazilian Jazz studies with Chris Judge (Gille Apap & The Transylvanian Mountain Boys), and Jazz Guitar with John Payne.
Performing as a soloist with the Salem Philharmonia Orchestra Op.99 by Mario Castelnuovo Tedesco
Author foreword: It is my great pleasure to present a series of original etudes that have helped mold my hands into the player that I am today. I practice many of these on a daily basis with great variation in my right hand fingering and consider many of them essential to my continuing development. It is my philosophy that you need to exhaust every way to play a scale. To cross train. This is why I enjoy a steady diet of doing things in 3's: Rest, Free, and a Combination of the two. I only included right hand fingerings in the first few etudes to show some of the variations in which I practice these on a daily basis. The rest of the etudes are for you figure out what works for your hands.
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Do you have questions, want to book a show, want to book private lesson, or collaborate on a new piece? Reach out and let's make music happen. I perform as a classical guitarist with orchestra and symphony throughout the US.