西班牙的flamenco舞者结合此类名作曲家以西班牙为主题的音乐，创作Flamenco舞蹈，表演愈精致化，学院派的舞者陆续投入，蔚为风潮。此时castañuelas(响板)成为伴奏的必要器具之一。Antonio de Bilbao强化男舞者的脚步动作；Carmen Amaya则强化了女舞者的脚步动作，使得舞蹈在flamenco中渐居重要地位。
1922年Manuel de Falla和诗人Federico García Lorca在Granada联合主办Cante Jondo(深沈之歌)歌唱大赛，文艺界重量级人物参与者眾。大赛原本以搜集早经世人忘记，未受污染之cantes为务，然非商业化的cantes gitanos歌手却不热衷公开露脸。然此大赛亦有其正面意义，许多cantes老歌被记录下来，流传后世，不致失传。
值此新flamenco时期，传统老flamenco歌曲并未完全消失，有名的歌手除了顺应潮流唱些fandangos或cuplés(当时的流行歌曲)，亦将传统的cantes收录在唱片或表演节目中，例如Manolo Caracol (Cante Jondo大赛的冠军得主)及Pastora Pavón ("La Niña de los Peines")。后者录制很多唱片，灌了很多首传统的cantes:soleares, siguiriyas, alegrías, bulerías及tangos。与其合作的guitarristas亦享有盛名：Luis Molina, Ramón Montoya及Melchor de Marchena。
另一个维护传统cante的是Antonio Mairena (刚出道时取名Niño Rafael)。他被誉为现代最佳的cante歌手之一，然而为了生存，还是得唱些流行歌曲。据1976年出版的"Las Confesiones de Antonio Mairena"中所载，Antonio Mairena获唱片公司青睞準备前往Barcelona录音，行前他準备了企划案，挑了seguiriya, soleares, alegrías及tangos，但到了Barcelona，唱片公司的人却说："flamenco连提都别提，你只要唱fandangos及cuplés就好。"这道尽了flamenco在当时的境遇。
吉它手在此时大放异彩，其中Ramón Montoya (1880-1949)为代表人物。他是个gitano，定居Madrid，他对后代绝大多数的吉它手影响颇鉅。后来的名手如Sabicas及Mario Escudero都曾灌录Montoya的曲子。Montoya早期於cafés cantantes表演，后来受到古典吉它手Francisco Tarrega及Miguel Llobet影响，开始将古典吉它演奏技巧带入flamenco演奏技巧中。他作的曲子，目前被奉为flamenco吉它演奏的范本，rondeña的吉它演奏版本亦是他所编。
Masters of Flamenco Guitar is an excellent collection that showcases four masters of the art: Sabicas, Niño Ricardo, Manolo de Huelva, and Melchor de Marchena. Each guitarist is represented by a selection of live cuts that demonstrates his prodigious talent. Even casual listeners will be able to draw differences between each musician, since each has a unique style -- Sabicas was both a songwriter and a player, Ricardo was often regarded as the finest accompanying guitarist in flamenco, de Huelva specialized in bulerías, and de Marchena was a gypsy accompanist. The beauty of Masters of Flamenco Guitar is how it allows even casual listeners to hear the differences between such styles, and as it does, it offers a good introduction to the entire genre. ~ Leo Stanley, All Music Guide
Many subtly varied kinds of music fall under the rubric of flamenco, which is a style of singing, dancing, and even living, as well as playing the guitar. This collection presents a good guitar selection, highlighted by the polished technique of Sabicas, the profundity of Manolo de Huelva, and the sheer brilliance of Melchor de Marchena. There is a drastic change of atmosphere in the transition from track 10 (a zapateado played by Nino Ricardo) to track 11: Manolo de Huelva accompanying the voice of Manuel Vallejo. Suddenly we are in a cuadro, the natural environment of flamenco, with a group of participants clapping, stamping their feet, and shouting encouragement to the musicians. No longer is it just a man sitting alone on a stage or in a studio, playing the guitar fluently and flawlessly; this is cante hondo, the heart of flamenco, intense and astringent, and the best of this disc's many flavors. --Joe McLellan
Sabicas (Agustín Castellón Campos) was a Flamenco guitarist, of Romani origin, who was born in 1912 in Pamplona, Spain and died in 14 April 1990 in New York.
Sabicas began playing guitar at the age of 4 and made his performing debut 2 years later. His early style was influenced by Ramón Montoya, with whom he was related on his mother's side of the family. Extensive collaboration with important cantaores (male Flamenco singers) of the period helped him develop his unique personal style
Niño Ricardo (11 July 1904-1972), born as Manuel Serrapí, was a Flamenco composer, considered by some sources as the most accomplished flamenco player of his day. He played a significant part in the evolution of the flamenco guitar. He lived in the city center of Sevilla. A child guitar prodigy, his early audiences referred to him as the son of Ricardo, leading to his stage-name Niño [de] Ricardo.
Melchor de Marchena
Melchor de Marchena was a guitarist flamenco born in Marchena ( Spain ) in 1907 and died in Madrid in 1980 .
Melchor Jiménez Torres arrived into the world in 1907, and by a very young age it was obvious that flamenco was part of his body. He eventually received the nickname, Melchor de Marchena, and has been noted as just about the best accompanist in flamenco history.
This star was born into a family of gypsy flamenco with his father, El Lico, a guitarist, and his mother, Josefita, a cantaora. Melchor was a regular accompanist for La Niña de los Peines and he also accompanied Manuel Torre in the early stages of his career.
Sabicas (Agustín Castellón Campos) born in 1912 in Pamplona, Spain and died in 14 April 1990 in New York
Ricardo!...Manuel Serrapí Sánchez “Niño Ricardo” (Seville 1904-1972).
Melchor de Marchena; born in Marchena ( Spain ) in 1907 and died in Madrid in 1980
01. Zapateado [Live] - Sabicas
02. Camino de Linares [Live] - Sabicas
03. Con un Clavel [Live] - Sabicas
04. Salero Gaditano [Live] - Sabicas
05. Albacin [Live] - Sabicas
06. Serrana Juncal [Live] - Niño Ricardo
07. Marisma de Huelva [Live] - Niño Ricardo
08. Gitana Gaditana [Live] - Niño Ricardo
09. Velez-Malaga [Live] - Niño Ricardo
10. Zapateado [Live] - Niño Ricardo
11. Llego el Frutero - Manolo de Huelva, Vallego
12. Yo No Me Hubiera Perdido/Ruegale a Dios Por Salud - Manolo de Huelva, Vallego
13. No Te Hagas Ilusiones - Manolo de Huelva, Vallego
14. Ese Me Gusto Seria/Ni Hermosa Ni Dinero - Manolo de Huelva, Vallego
15. Bulerías [Live] - Melchor de Marchena
16. Tanquillos de Cadiz [Live] - Melchor de Marchena
17. Sevillanas [Live] - Melchor de Marchena
18. Peteneras [Live] - Melchor de Marchena
19. Serranas [Live] - Melchor de Marchena
20. Soleares [Live] - Melchor de Marchena