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Brendan
Posts: 355
Joined: Oct. 30 2010
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RE: fretboard methods (in reply to Guest)
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It's impossible to recommend much without knowing more about the student (musical background, cognitive style, etc.), but you might try this: Teach him a little rumba tune, like Te Quiero Verde, in Em. Have him play it in as many different positions and left-hand fingerings as you can think of: in different octaves, all up one string, in a fixed position, left hand travelling a bit, variations with the melody starting on each left-hand finger, etc. Don't show him any more than you have to, make him pick it all out by ear. Do this over several sessions until he can play any of these variations on demand. Then repeat in Am. He won't learn the fretboard systematically from this, but he will spot common patterns and intervals, connect his knowledge of different regions of the fretboard, and play music. Then, when he uses a systematic method, it'll be filling in gaps rather than building from scratch and he'll have some musical experience to relate it to. Abstract learning tends not to stick if it doesn't relate to anything experienced. I have no idea whether this will work.
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REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 29 2014 16:05:24
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Ricardo
Posts: 14852
Joined: Dec. 14 2004
From: Washington DC
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RE: fretboard methods (in reply to Guest)
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No single rumbero plays convincingly the lead parts without a full grasp of all the flamenco palos. Even Manitas seemed to understand what makes a taranta vs a Malagueña despite his perhaps bad taste with mixing the forms in an unaccompanied solo. Never the less, when playing RUMBA, the lead players thinks interms of the flamenco forms when improvising over the compas backing. That means a song in E minor with what ever chords you want (Am, B7, Cmaj7, G, D7 etc) the lead player need not think like a jazz guy understand the neck in terms of scales....he need only think about GRANAINA, and play with the proper soniquete as per the rhythm section. If the guitar student does not understand what that means, then he will not sound like a Rumbero when he plays, he will sound more like Dimeola Mclaughlin, Coryell, Jessie Cook etc. If the intention is to sound more like Paco, Vicente, even Tonino from GK, then the student needs to study flamenco forms. Ricardo
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CD's and transcriptions available here: www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Jan. 6 2015 13:06:04
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Aretium
Posts: 277
Joined: Oct. 23 2012
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RE: fretboard methods (in reply to Ricardo)
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quote:
No single rumbero plays convincingly the lead parts without a full grasp of all the flamenco palos. Even Manitas seemed to understand what makes a taranta vs a Malagueña despite his perhaps bad taste with mixing the forms in an unaccompanied solo. Never the less, when playing RUMBA, the lead players thinks interms of the flamenco forms when improvising over the compas backing. That means a song in E minor with what ever chords you want (Am, B7, Cmaj7, G, D7 etc) the lead player need not think like a jazz guy understand the neck in terms of scales....he need only think about GRANAINA, and play with the proper soniquete as per the rhythm section. If the guitar student does not understand what that means, then he will not sound like a Rumbero when he plays, he will sound more like Dimeola Mclaughlin, Coryell, Jessie Cook etc. If the intention is to sound more like Paco, Vicente, even Tonino from GK, then the student needs to study flamenco forms. Ricardo Ricardo is like a father who descends upon the chaos, stops it, and leaves it a better and more knowledgeable place.
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REPORT THIS POST AS INAPPROPRIATE |
Date Jan. 6 2015 15:43:41
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