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Dennis Koster
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ivan
Posts: 73
Joined: Oct. 6 2005
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RE: Dennis Koster (in reply to TGerman)
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The 8 observations that cavaliotis wrote pretty much sums it up. I know Dennis, shared the NY flamenco guitar festival w/ him this past january and what can I say without being too harsh? As Todd said, " Guitar lessons, yes. Flamenco guitar lessons, no.." There is no duende, nor any flamenco sound. As a spanish flamenco player, it was hard to really watch and listen. I am not trying to disrespect. But please don't call it flamenco because in reality, people will get the wrong impression if they first hear flamenco played by someone like Dennis. When my brother and our ensemble played in January w/ him in NY, we had such a great turn out that tickets had to be sold half price because of standing room only. However, I felt so bad when Dennis finished the show and many people literally walked out. If you guys know anyone that went, ask them and they will tell you. Dennis is like in love with himself and it shows in his playing...too bad there is no flamenco foundation or technique to back it up. I am sorry if I sound rude and I am not trying to be. Disculpe por favor. Ivan Gomez
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Date Sep. 2 2006 2:02:33
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Gecko
Posts: 218
Joined: Jan. 2 2006
From: New Mexico
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RE: Dennis Koster (in reply to TGerman)
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quote:
ORIGINAL: TGerman Such as what? If you don't mind me asking. Todd I've only had the book for less than a week, but here are the things that the book has helped me to understand better, so far: Compas – with simple and numerous examples for common paloes. Compas (Chording) Sequences – with many examples for common paloes. Falsetas – what they are and how they are used in several common paloes. The Llamada – and its use with examples for soleares and alegrias Escobillass – use and examples The structure of the most common paloes and a basic explanation how they differ for cante and baile. Flamenco Terms – Spelled out phonetically so you have some idea how they are pronounced. All of these may seem like easy, common stuff to experienced, or even intermediate players, but to a beginner, struggling to learn on their own, they can be difficult to grasp and understand. At least for me they have. I have been using GM's and Juan Martin's materials. Both have been good for technique, but at least for me, they never explained the above in any detail, or at least in terms I could understand. Again, I'm very pleased with Koster's book and right now, at this point in my learning, I could give a crap less if his stuff is old or new style. I seriously doubt if I would know the difference anyway. IMO his book is sort of light on technique, but I have other books for that.
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Date Sep. 3 2006 11:50:28
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RK86Now
Posts: 1
Joined: Nov. 9 2019
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RE: Dennis Koster (in reply to TGerman)
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I’ve seen Dennis Koster perform in a small hall on the upper west side in NYC in May of 2005. At the time I had not seen anyone play flamenco style guitar before and I was impressed. A week later I was at another show at the same place, and Dennis came in and sat at my table. Before the show, I told him I saw his show and that I had both of his Keys books, and asked him how one can learn rasgueado, and he showed me. On top of a table he placed his hand facing down and one by one flicking his fingers off the table top. It cost me nothing and he was kind enough to speak to a fellow guitar player and help. I’ve had both Keys books since 2000, when his publisher gave them to me and the company I was working for at a NAMM show. I’ve worked out many of the examples, but never fully grasped the techniques. Since then I’ve bought his Alfred book and many other books from other authors, and have tried flamenco guitar from about 2005 to 2009. I’ve been playing electric guitar since 1981. Now in 2019 I’m back to fully studying flamenco. Dennis’ books are great. The examples are great with simple to follow instructions, and the CD help immensely. I’ve seen many flamenco shows in NYC with singers, dancers and guitar players. Mostly great performers and experience. But what Dennis has that these performers don’t, he’s got a great sound/tone and incredible technique. Most of the performers I seen play cheap Yamaha thin body acoustic electric guitars with a cutaway, and to my utmost disgust sometimes they add chorus and/or reverb fx. Cheap disgusting sounds. Listen to Dennis and you’ll hear a full sound. He’s playing the guitar. No accompaniment. All guitar. If you say he has no “aire” well that’s your opinion. Maybe you’re right, maybe you’re wrong. But I don’t think you can take away from a man who has dedicated his existence to the guitar and succeeded. He’s a professional. He’s at a level where he could charge $200 for 20 minutes for all the knowledge he has. Unfortunately, what we have here is, like in any other case in life, a possibility of jealousy. I wonder how the “so called real” Flamenco payers with “aire” would fair in comparison to Dennis if they were forced to perform sober and alone without singers, dancers, cajon players, and drunk audiences. I wonder how their cheap Yamaha acoustic electric guitars with cutaways would fair next to Dennis’ real classical guitar. Let’s get real people. They would be naked and they would fail. My suggestion to you my fellow guitar players is that you should be lucky enough to be playing the guitar. Think Frank Zappa “Shut Up and Play Your Guitar”.
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Date Nov. 11 2019 15:52:21
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