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Ricardo
Posts: 14819
Joined: Dec. 14 2004
From: Washington DC
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RE: The True Solo (in reply to Guest)
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quote:
Anybody got any opinions. Well of course man! Regarding solo Guitar, tapping the foot can be the percussion to give meaning to your synchopation if you can hear the taps well. There are vids of Paco where the foot IS the percussion. Also some Audio like that. Of course if you have a more free to move tempo, you can forget the foot and just play what you think feels good and expressive. I have had to play in a bar stool and don't get to do any foot. In that case you really have to take care with spaces and play staccato and really give the audience a sense of the beat, even your body language helps. Tanguillos Old or new it should be like a mix of 2/4 with 16th subdivision and 6/8 with triplet 8ths. So always you feel two beats. The implied 3/4 by the 1,3,5, I would erase from my mind if I were you. I don't think you want to get stuck in that feel. A good exercise is to practice the same falseta and rhythm pattern, repetative, the first time as 2/4 like an 8th and two 16ths (1, &ah2, &ah1, etc), the second time as straight triplets (1&ah,2&ah). Keep the beat solid, but play around with timing of the "&" which you need to accent. It is all about where it is relative to the steady beat. When you can move it into different spots, even have it vaguely caught between the triplet and the 16th feel, but keep the beat solid, you really start to get it in control. The only thing about modern tanguillo is they tend to stick to the straight triplet feel more. But you really need to keep the 2 beat feel going. Practice with a metronome, so it is only 2 beats, and you work on changing the feel of the "&". Palmas can go a lot of ways. 2,3, 5 is good. Even in a way where 5 is a hair late, so it is more like 2/4. Vicente had the palmas go 1,2,3,4,5. Someone else I heard had just 1 and 4. Most important I think is the internal beat, or the foot tap in 2. Ricardo
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Date Aug. 30 2007 6:57:28
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gato
Posts: 322
Joined: Jun. 9 2007
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RE: The True Solo (in reply to Ricardo)
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Great thread! I think that you're right about rhythm Ricardo, and I think phrasing is vital, and it's a matter of understanding poly rhythm, when you get down to it, otherwise flamenco compas would be different, and much more like western music or something else altogether. It evolved out of it's relation to the flamenco dance technique (and palmas), so guitarists have to consider that sense of poly rhythm at all times, and yet it can come naturally. The flamenco guitar technique is rooted in it. Flamenco came as a sum of it's parts, cante, dance, palmas, guitar, and none would be without the others, so it's good, to get into all of it, including rhthm instrumentation. We learn that way, much faster (!) than just specializing in guitar and hoping we get it right without the others. Gary
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Date Sep. 1 2007 0:41:37
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gato
Posts: 322
Joined: Jun. 9 2007
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RE: The True Solo (in reply to guitarbuddha)
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D, it's good to see that kind of passion in a musician these days when so much music is typical and cheap, where you can visualize the art of playing and actually see it in other players and their techniques. I think that makes for great musicianship and overall, great music. I don't know about you but I credit my guitar playing to years of cross training on other instruments, as well as musical forms, and I think that helps in a great way. But to see what is going on in any musical form, really gets us to that place where we 'stop going out of compas,' and get down to the music, and start to connect with what is going on, and my philosophy is what ever helps is something to be greatful for...So keep searching and don't ever stop, it's a life of learning and seeing that we all have got to do..... Gary
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Date Sep. 2 2007 3:38:38
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Ricardo
Posts: 14819
Joined: Dec. 14 2004
From: Washington DC
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RE: The True Solo (in reply to guitarbuddha)
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quote:
Hey Gato I have to agree 100 percent with your point on percussion. I find it much much better to clarify my ideas about rhythm away from the guitar trying to think as a percussionist and then bring them back to the guitar maybe first on one string, then one chord, then a pair of chords. Then I can relax when I work on the acutal piece since my rhythmic understanding helps my fingers dance. Too often when I have tried to understand the rhythm of a piece simply by trying to play it over and over my understanding gets more and more confused by the negative reinforcement of hearing myself playing it wrong again and again. Very well put. I often try to learn falsetas driving in the car, simply by singing along to the melody (more or less) and especially the rhythm. Anytime I sing an attack or note at the wrong time, I rewind until I get it exactly right. Otherwise, if you just kind of vaguely understand the timing, when you sit down and start playing it, your fingers take over and learn it wrong, and that is bad. One should be able to sit down and sing through an entire piece if he really understands it, even if the pitches are wrong, at least the rhythm just to a foot tap or hand clap is better. Ricardo
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Date Sep. 2 2007 19:54:59
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