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Unfortunately I have not found a good link to a YouTube presentation of Trantas by him. I have found 3 other classical guitarists that play the piece and this is far and away the most flamboyant.
Well I guess that covers the water front. One thing, the classical guitarist doesn't use a capo and I think that results in a deeper sound. But a guitar piece for flamenco/classical guitarists on the highest plane.
I have found 3 other classical guitarists that play the piece and this is far and away the most flamboyant.
That F# in the beginning looks very painful for him, that's not right, he should have a doctor look at that. lolol
2:05 to 2:20 is a total mess.
I'm gonna hold a class down at the Y for classical guitarists, "How to strum a guitar 101" lolol, I've seen julean bream do it too, it's soooo awkward looking and sounding.
I have found 3 other classical guitarists that play the piece and this is far and away the most flamboyant.
why are you looking for classical guitarists to play what you acknowledge to be "Paco's masterpiece"? There are plenty of more authentic and accurate interpretations. I thought classical musicians were supposed to follow the score and play what the composer intended? The "urtext" in this case is Paco de Lucia's recording. There is even video to help. the guy you posted murdered it. The phrasing is all wrong. The sound is all soft and syrupy. his picado is bad and his rasgueado is awful (file under "wathgwado"). like one of the YouTube comments says "the acting is stupid." I couldn't even watch the whole thing (I had to minimise it and just listen). You seem to be trying to post the most unflamenco versions you can find. are you trying to wind people up to get a reaction?
So painful, both to watch and listen. Most excruciating a torture was the tremolo phrasing; Paco De Lucia's guitar sings it, effortlessly and smoothly, while Dervoed [the classical guitarist] shatters it into pieces, and drags them together anxiously into a meaningless phrase.
If you were trying to juxtapose classical and flamenco styles to show how the former isn't equipped to interpret the latter, this was as strong and conclusive an evidence as one could ever find.
If you thought, on the other hand, that this was a fine rendition of Paco De Lucia's work, well then, perhaps you ought to listen more to Paco De Lucia and pay less attention to his ill fit interpreters, such as this.
I lasted 26 seconds with Mr Dervoed. I would suggest he might want to check out Salva de Real. But that's just my 2 cents' worth…
It reminds me classical players who have a great technique of their instrument think they can automatically play jazz (or flamenco in this context). Big error ...
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ORIGINAL: Lenador I'm gonna hold a class down at the Y for classical guitarists, "How to strum a guitar 101" lolol, I've seen julean bream do it too, it's soooo awkward looking and sounding.
Pepe Romero is the only classical guitarist I have seen who has a decent rasgueado--except for Grisha of course, and his concert partner Jerome Mouffe is picking it up pretty well. Grisha and Jerome played classical and flamenco duets at their concert on March 29, Grisha played flamenco solos, Jerome played classical solos, one of them amazingly difficult, pulling it off very well.
The day before the concert, they gave a master class at the University Of Texas at Austin. Some good players played for them. Adam Holzman, the head of the University guitar department was there.
The most virtuosic student played the last movement of Rodrigo's Sonata Giocosa, which is guajiras in form and meter, with a fair amount of rasgueado. Her rhythm was dead square, no guajiras swing, but her playing was accurate and fluent, good dynamics. Her rasgueados didn't sound nearly as bad as most classical guitarists, but she sounded notably better after Grisha's rasgueado lesson.
Grisha gave a very detailed description and demonstration of flamenco style a-m-i-i rasgueado for about ten minutes. Everybody in the room paid very close attention, and everybody was doing rasgueados on their leg as they watched and listened.
After the student showed she had picked up part of what Grisha said, she asked about using the thumb. Grisha described and demonstrated p-m-p rasgueado, without using the word "abanico", but there wasn't as much time to work on that.
Absolutely, in fact Ricardo, your comment in that thread applies squarely here,
Ricardo wrote ".... I approve of the idea to interpret that piece in a classical style, but the problem here is mostly timing. I mean it's a free piece but a perfect example where a good sense of timing will influence the phrasing. The dramatic pausing between phrases just doesn't work sorry. It makes the piece very boring sounding, it needs to flow better. THe tremolo needs work technically speaking. Tons of top classical players could do that section justice IMO."
hmmmm certainly very virtuosic, and heaps better then I could do, but maybe a little too fast dare I say?? Seemed to lack a sort of soniquete groove…….Is it just me?? Like maybe the compas was not spot on…….
I have found 3 other classical guitarists that play the piece and this is far and away the most flamboyant.
That was one of the most awesome performances I've seen in a LONG time. I can' stop myself from chuckling. I love the look at the end when he strums that last chord & gives everyone in the audience the middle finger with his fretting hand. Kudos to him though - I think he did great. Just really hilarious.
Superb. Flawless technique. But still...to laid back. Lacks the fire of Artyom Dervoed. Yes his tremolo is amateurish. I really think the lack of a capo contributes to the presentation. Why would one need a capo but to ease the difficulties?
aeolus, you can't be serious. This recording lacks nothing. Tarantas doesn't need fire; it's a dark palo. Paco has the sentiment just right. Also the line about capo being there to "ease the difficulties" is wrong. Every tonality has its own identity and G# sounds very different from F#.
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I love the look at the end when he strums that last chord & gives everyone in the audience the middle finger with his fretting hand. 
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