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 the great Pacific Northwest where he is now the Artistic Director of the Corvallis Guitar Society, the Musical Director of the newly formed group Flamenco Pacifico, 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 Boyd is recognized as one of the top professionals in the music industry. As a former music broker/owner of BertoFlamenco Productions in Santa Barbara, CA, he regularly employed over 35 of SoCal’s finest Classical, Jazz and Flamenco musicians for many high-end private events, corporate events, and for many well-known celebrities.
Berto’s debut album “Esmeralda” was released in 2003 featuring all original Flamenco compositions. In 2017, he released the debut album “Convivencia” with his group Flamenco Pacifico. 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, “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 life-long 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.
With Cristina Villalobos in Moorpark for a photo shoot for California Wedding Day magazine
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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