Vicente's constant use of the capo

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machopicasso

Posts: 973
Joined: Nov. 27 2010

Vicente's constant use of the capo

Does anyone know why Vicente always (or nearly always) capos on the first fret?
Has anyone seen a clip of "Tio Arango" with Vicente playing sans capo?

I've heard that Antonio Rey normally practices without a capo -- both to push himself and because it makes playing with a capo during performances easier.

Surely, Vicente's got the skills to perform without a capo. So, why doesn't he?

REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 10:01:42

Cloth Ears

Posts: 152
Joined: Apr. 26 2005

RE: Vicente's constant use of the capo (in reply to machopicasso)

An interesting question. I am wandering whether it is to lower the action, or just to make some stretches more comfortable.

Having studied 'Vivencias Imaginadas' originally on a 660mm scale length guitar rather than Vicente's preferred 654mm Reyes, I would sometimes play it without the capo when I just couldn't be bothered to reach for it. It was noticeably a bit harder on some parts. Now I have a 655mm scale length guitar, the piece is a breeze to play with or without the capo. So maybe it is down to scale length?

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REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 10:25:26

gerundino63

Posts: 1743
Joined: Jul. 11 2003
From: The Netherlands

RE: Vicente's constant use of the capo (in reply to machopicasso)

I noticed it with Paco Peña too....guess the action is better than.

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REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 11:46:07

tele

Posts: 1464
Joined: Aug. 17 2012

RE: Vicente's constant use of the capo (in reply to gerundino63)

I don't know but to me capo at the 1st fret makes the guitar sound most beautiful

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REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 12:23:23

tri7/5

Posts: 570
Joined: May 5 2012

RE: Vicente's constant use of the capo (in reply to machopicasso)

Agreed with tele. I think some guitars voices really shine with a capo on the 1st or 2nd fret verses open. I know one of mine really sounds great with a 1st fret capo.

REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 12:39:45

Escribano

Posts: 6415
Joined: Jul. 6 2003
From: England, living in Italy

RE: Vicente's constant use of the capo (in reply to machopicasso)

Seems to improve the action for me, kills a little sustain and just sounds more flamenco.

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REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 13:25:20

gj Michelob

Posts: 1531
Joined: Nov. 7 2008
From: New York City/San Francisco

RE: Vicente's constant use of the capo (in reply to machopicasso)

I too always associate the capo on the 1st fret with Vicente Amigo, and it seemed that in the past this was his firm choice: Reyes with Capo on 1st.
As Ricardo replied to a similar query once, it is the need to tame those basses.

However, since "Paseo de Gracia" and now with "Roma", the capo comes off more frequently.
Personally, I like the more metallic sound with a capo on the 2nd fret, and the fuller projection with the capo on the 1st. But I rarely enjoy my blanca without capo, if not to make sure I can still stretch my fingers on a standard scale.

Here is Vicente without capo…. (incidentally, he also remained faithful to his humble and un-folkloristic Dunlop capo, instead of any more ornate and characteristic Cejilla. An interesting inconsistency with his otherwise great and expensive Reyes).

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REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 13:34:00

Paul Magnussen

Posts: 1805
Joined: Nov. 8 2010
From: London (living in the Bay Area)

RE: Vicente's constant use of the capo (in reply to machopicasso)

quote:

I've heard that Antonio Rey normally practices without a capo -- both to push himself and because it makes playing with a capo during performances easier.

This is misconceived: modern research shows clearly that practising the same thing different ways confuses habit-forming mechanisms of the brain.

You should practise with the capo where you intend to play, and do separate stretching exercises if you need to.

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REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 16:30:06

Sr. Martins

Posts: 3079
Joined: Apr. 4 2011

RE: Vicente's constant use of the capo (in reply to Paul Magnussen)

quote:

This is misconceived: modern research shows clearly that practising the same thing different ways confuses habit-forming mechanisms of the brain.

Would that apply to changing scale lenght? It's like playing a slightly different guitar but it's still a guitar.

If what you're practicing doesn't envolve open strings, the capo is just sitting there..

What about people who play more than one stringed instrument?

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REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 16:33:16

Paul Magnussen

Posts: 1805
Joined: Nov. 8 2010
From: London (living in the Bay Area)

RE: Vicente's constant use of the capo (in reply to Sr. Martins)

quote:

Would that apply to changing scale lenght?

To certain extent, yes. Else why would it feel unfamiliar?

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REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 16:40:32

Sr. Martins

Posts: 3079
Joined: Apr. 4 2011

RE: Vicente's constant use of the capo (in reply to Paul Magnussen)

I asked if that research would really apply to something like changing scale lenght.

I believe that practicing guitar on a piano wouldn't do much good but this sounds like an irrelevant change, you still have frets...

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REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 16:46:20

Ricardo

Posts: 14806
Joined: Dec. 14 2004
From: Washington DC

RE: Vicente's constant use of the capo (in reply to Paul Magnussen)

quote:

You should practise with the capo where you intend to play, and do separate stretching exercises if you need to.

Actually, when playing proffessionally we guitar players need to think about functionality of a falseta. There are some that only work in a certain key for solo guitar playing, others need to function in various positions on the neck because of the real need for the cejilla, that is, adapting to the singer's range. For sure falsetas feel totally different in higher positions than open, so practicing with the capo at different positions is EXTREMELY important for working players. The maestros we see doing concerts are no different, they still think like accompanists.

Also adapting or arranging falsetas to different keys turns out to be very useful as well. And finally, I want to admit another reason for using a capo live in a certain position or other....harmonics. When you play live with other instruments (not just solo guitar) and have a lot of volume thanks to amplification, certain notes on the guitar come out too strong. Simply placing the capo one fret higher or lower can change all that and make the guitar voice more clear in the whole mix. This of course is moot when dealing with vocalists whose range will take precedence.

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REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 17:33:19

Grisha

Posts: 1263
Joined: Mar. 17 2005

RE: Vicente's constant use of the capo (in reply to machopicasso)

Totally agree with Ricardo on harmonics. I experienced that with Riqueni's minera, which sounded better on my guitar without the capo.

REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 18:03:45

orsonw

Posts: 1934
Joined: Jul. 4 2009
From: London

RE: Vicente's constant use of the capo (in reply to Paul Magnussen)

quote:

This is misconceived: modern research shows clearly that practising the same thing different ways confuses habit-forming mechanisms of the brain.

I would be interested and grateful to know which research studies your opinion is based on?

There is much research supporting use of variable practice in motor skill acquisition, some of which can reasonably be generalised to musical skill acquistion.
Only a few studies specific to musical skill, here is an interesting one-

This 2014 study compared methods of practice for skill acquisition of a specific stretch by student piano players. Though the results, as always, are up for discussion, it could be argued that variable practice was more effective.

There is plenty more motor control research but I won't bore people with it here, wrong forum! But thought some might be interested.

Bangert, Marc, Anna Wiedemann, and Hans-Christian Jabusch. "Effects of variability of practice in music: A pilot study on fast goal-directed movements in pianists." Frontiers in Human Neuroscience 8 (2014): 598.

REPORT THIS POST AS INAPPROPRIATE | Date Aug. 6 2014 21:00:30