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Golpe
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Exitao
Posts: 907
Joined: Mar. 13 2006
From: Vancouver, Canada
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 RE: Golpe (in reply to Ricardo)
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quote:
Ricardo
Hmm, I don't know. I think NOT doing a golpe deliberately can be as important as DOING the golpe in some cases. Most things in flamenco technique have to be a "feeling" and a matter of taste ultimately, but there are times I infact am very aware of when I am doing a golpe, and what kind it is. There are more than just one type of golpe. And I have heard many students that are doing too many golpes, or too loud or whatever, like woody wood pecker.
I think that the use of silence is too advanced to expect from beginnners.
What do you think retards the artistic/overal progress of of a flamenco guitarist, beginning with too much golpe, or not enough?
When it comes to refining one's skills, is it easier to chip away or build up?
Ron's post seems to suggest that golpe is not just essential to flamenco, but for becoming flamenco. I think...
_____________________________
Callidus et iracundus.
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REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 9 2006 6:03:57
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Ricardo
Posts: 14897
Joined: Dec. 14 2004
From: Washington DC
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RE: Golpe (in reply to Exitao)
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quote:
What do you think retards the artistic/overal progress of of a flamenco guitarist, beginning with too much golpe, or not enough?
Rhythm in general is the problem. Golpe is just something you do or not at a certain time. Once you get the mechanics of the technique, application is the next step. When to use it, and when not to. Just like learning how to play chords is a big hill to get over. Once you learned how to change from one chord to another, you have to do it in a timely fashion, or you can't play any song. Learning a rhythm sequence or pattern that contains golpes, is similar to dance steps. Eventually, hopefully, the student learns the purpose and can "improvise" it without any thought. But only after something has been learned and copied correctly. The metronome helps you get to the "not thinking about it" stage, assuming you know how to use it. The real danger in flamenco, something that "ritards" my own learning, is when the student hears the rhythm incorrectly, in the wrong place. Having to shift it to the correct position involves "unlearning and re learning" the way it is supposed to feel.
Anytime I learn a new remate or strumming pattern, or even falseta that has golpes, I have to stop and think about it for a second until I get the pattern. It is part of learning. The fun of flamenco is that that kind of thing is a never ending learning process. There is a seeming infinite combination of rhythmic things one could make up in flamenco, so long as it has purpose. And of course there are times when one is truely improvising, or creating something new on the fly in a juerga or something. But then of course it may be un repeatable.
Ricardo
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REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 9 2006 9:19:22
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