Hmmm ... Interesting question. I actually was going to dismiss this until I read Segovia's history. Now I would say yes. I'd venture to say that Duane and Dickey knew of him and probably heard some of his records although one would have to ask Dickey. Django Rinehardt is one of Dickey's admitted influences. So if there was some Segovia influence. It certainly is less than Django, Chuck Berry, Surf, Western Swing or String Music. It should be noted that Segovia wasn't known as a composer. Most of his works were his interpretations of Classical pieces by the masters and pieces from modern day composers written specifically for him. So ... If Dickey nicked a melody, it in all likelihood wasn't a Segovia melody but one he may have popularized. Furthermore neither Dickey nor Duane appear to have ever used the classical technique that Segovia was famous for. And my guess is both would have bristled at being forced to have to play in that style. Segovia was a bully when it came to teaching according to some of his more famous students. To my knowledge Dickey nor Duane could not read music so any Segovia published teaching method would have been useless even if it was available. In closing if Dickey uses a flamenco strum during one of his inspired improvisations, does it come from Segovis? You'd have to ask him though Dickey and Segovia would never ever be mistook for the other IMO.

[Edited on 1/31/2016 by Charlesinator]

My first guess might be "Little Martha".

I would think probably Derek and possibly jack pearson have been somewhat influenced by him to a certain extent. They are both so in to the roots of music and are great students.

Well I guess you could argue that all guitarists are influenced by Segovia. You could ask anybody to name a classical guitarist and I'd venture that Segovia would be the only one the majority could name. And if they mentioned anyone else they would definitely be influenced by Segovia whether it be Christopher Parkening or Esteban. So if anybody plays anything resembling a classical guitar piece then they would be influenced by Segovia. So do IMOER and "Little Martha" resemble classical pieces or more so Latin Jazz and British folk music? Again an interesting post. Like I said all guitarists are probably influenced by Segovia; however, if rock music is their forte, then they are probably way more influenced by Duane Allman.

Well I guess you could argue that all guitarists are influenced by Segovia. You could ask anybody to name a classical guitarist and I'd venture that Segovia would be the only one the majority could name. And if they mentioned anyone else they would definitely be influenced by Segovia whether it be Christopher Parkening or Esteban. So if anybody plays anything resembling a classical guitar piece then they would be influenced by Segovia. So do IMOER and "Little Martha" resemble classical pieces or more so Latin Jazz and British folk music? Again an interesting post. Like I said all guitarists are probably influenced by Segovia; however, if rock music is their forte, then they are probably way more influenced by Duane Allman.

So true...I was fortunate enough to see Segovia in SF....I don't even remember the year....I studied classical guitar while in college and the Segovia version of the major and minor scales are a huge influence on how I "see" the guitar. Not to mention his version of the Sor studies...these were basic studies if you studied classical guitar

Goldtop excellent point. I forgot I guess it was Segovia who laid out the scale patterns which we use today. Ironically it wasn't till I learned the three note-per-string scales and modes favored by more modern players and laid out in Paul Gilbert's Intense Rock Complete that the finger board started to make sense to me. And this is a fairly recent occurrence for me. Only after learning these did a light come on about the classic models.

Before thr emergence of rock guitar gods Segovia was the world's model for excellence.

His scale fingerings are the bedrock and Kimock still references that little book. Good to check out if not familiar.

Direct influence? Not to me.

Goldtop excellent point. I forgot I guess it was Segovia who laid out the scale patterns which we use today. Ironically it wasn't till I learned the three note-per-string scales and modes favored by more modern players and laid out in Paul Gilbert's Intense Rock Complete that the finger board started to make sense to me. And this is a fairly recent occurrence for me. Only after learning these did a light come on about the classic models.

I had learned the modes and the standard 2 octave major and minor scales before I took classical so when they brought out the scale book by Segovia I had a lot of fun with it because I could see how his scales ran right through the modes...They are the only scale I play now if I'm going to practice scales...The Bb minor scale staring on the 5th string is the most challenging by far lots of jumps

Before thr emergence of rock guitar gods Segovia was the world's model for excellence.

His scale fingerings are the bedrock and Kimock still references that little book. Good to check out if not familiar.

Direct influence? Not to me.

I took all those scales and adapted them for electric....Learning classical guitar made the biggest difference in the way I looked at the guitar.....Before classical it was patterns after i took classical it became notes and how they functioned...was the best thing I did for my playing....made me see chords in a much different way and helped me with voicing chord melody on jazz tunes....There was a ah ha moment when I realized where there was any note I could build any chord off that note that its a part of and any scale I want is somewhere there too....made me see the guitar more like a Piano...not shapes but notes and functions