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Legato vs Staccato
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Ricardo
Posts: 14825
Joined: Dec. 14 2004
From: Washington DC
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RE: Legato vs Staccato (in reply to Nemo Nint)
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We are not talking about music in general here. Playing staccato or legato is a different technique on violin than guitar. So on guitar it refers a lot more to the specific way to achieve the effect. Legato is just left hand hammer pull or "slurs". Not necessarily letting notes ring as long as possible. Think of guitar more like a percussion instrument. The longest note possible is not much longer than a staccato. Staccato is a music effect that can be achieved with either hand, the more flamenco way being to do it with the right or picking hand. But still I get your point about when to let notes ring and what not. It ends up being a personal choice and taste, but when developing technique, it is best to exaggerate things to help develop control over rhythm, speed, tone , etc. quote:
This curiosity comes partly out of my interpretation of the classical guitarist's idea that enunciation on classical guitar should be more accurate than flamenco. Miss conception IMO. To a certain extent buzing notes are accepted, but not to a rediculous degree. But rhythms have to be "clear" and deliberate, a different way to "enunciate" accurately. In classical guitar, often rubatos are done in order to achieve a clear tone, but that is a generalization too. I have heard classical guitarists with scraping nail sounds on the basses that never happens to flamenco players, and is accepted by MOST classical fans. Ideally, players of both styles should have as a goal, as clean a sound as possible and in rhythm or steady tempo and feel. Of course mistake can happen, but that should be the goal either way you look at it. Ricardo
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Date Sep. 1 2007 18:59:59
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Nemo Nint
Posts: 41
Joined: Jul. 20 2006
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RE: Legato vs Staccato (in reply to Nemo Nint)
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Thanks Ricardo, and D! I am glad for your input, and it's definitely helpful. One more thing though, to get more insight on the issue, I wonder if someone would comment on this particular bar in a composition I'm learning. When the 2nd B note and the D note are played in their times, in my standard technique I would leave the 1st F note and 2nd B note ringing respectively, but as I move to strike the A, I move the little finger off the 4th string's F note and place it on the first string, and as I hit the A, I am moving the middle finger to first string for the G. I wonder, if anyone has the patience to examine their method of playing this arpeggio and tell me if they would do what I do, or rather do something like this: As the first F is about to be played the first B is muted, followed by the F being muted when playing the second B, and the second B being muted when hitting the D, and so on... I can practice to perform this way, but it's not my natural instinct. I hope I made sense! -Tom
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Date Sep. 2 2007 19:26:01
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Paleto
Posts: 243
Joined: Jul. 29 2003
From: San Diego, CA
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RE: Legato vs Staccato (in reply to Nemo Nint)
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Tom, What piece of music are these two measures from? I think I know, but it's not an uncommon chord phrase either. In my opinion it's less important to have to articulate that much detail in thinking about it. It is likely that what is played is so fast, it won't make a difference if you pick the notes you want to emphasize. In a variation on the notation and tab you show, you can also play the 1st B note using the left hand middle finger, then 3 and 4 for the F# and 2nd B notes. Then 1 (or index) is free to play C#, and you can move2 (middle) to play the D note. note. I would play all notes as legato as possible given that some fingers must be moved. But I still think it will happen so fast, that no ear is likely to catch that detail. I play the Vicente Amigo taranta and use the fingering I mentioned above, but I hit an open B string and C# before that D note on the B string, that's the way it sounded done to me upon very careful listening to that fragment on Poeta. -Anthony
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Date Sep. 2 2007 19:53:08
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Nemo Nint
Posts: 41
Joined: Jul. 20 2006
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RE: Legato vs Staccato (in reply to Nemo Nint)
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Hi again The chord name Bm7 is supposed to apply, I believe, to the rhythm guitar played behind this main guitar score, but I think changing the B to an A natural on 3rd string sounds fun. D, sorry about forgetting to mention the key signature! hehe silly me. The actual composition is Entre Dos Aguas, from Fuente Y Caudal. I bought the PDL 3rd score book from sheetmusicplus a month or two ago along with a collection of classical songs (Moonlight Sonata, Cavatina, etc) because I wanted to learn Cepa Andaluza (my fav from the album) but found that its fingering is something I'm not yet capable of tackling. So I selected the rumba. But the idea is just a general one. Learning by myself by listening to recordings, practicing, reading, but not having any other person to talk to or play with (flamenco style)... it has caused me to wonder how peoples' left and right hands operate over particular expressions of arpeggios and such. It's hard for me to articulate the right words to get the response I need to learn.. blah I like what Paleto said.. quote:
But I still think it will happen so fast, that no ear is likely to catch that detail. I don't subscribe to the notion that classical guitarists need better fine-tuning of their technique than flamenco players because I think both should have the best for their own particular performances. Yet, because classical pieces are slower (last month I learned a score of Canon in D), fine tuning may be more necessary when performing for critics. And I'm my own worst critic and because I enjoy learning classical compositions and flamenco compositions, I often get confused and put myself through too much thinking and wondering. If only we could all just get together in person.. We're in the future aren't we? where are our flying cars and star-trek-like transporters? Hmm. If we were in the Matrix, we could just upload a program into our heads and we could know any music composition.
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REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 2 2007 20:37:51
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