Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
|
5/16
|
You are logged in as Guest
|
|
Users viewing this topic: none
|
|
Login  | |
|
   
Ricardo
Posts: 14806
Joined: Dec. 14 2004
From: Washington DC
|
 RE: 5/16 (in reply to guitarbuddha)
|
|
|
quote:
For tremolo I am trying to hear the downbeat and then four even semiquavers but with a clear accent on the first of the four semis, this is to help improve my attack and control of tremolo
Hmm, most of my students actually have a problem with being too heavy or accenting always that first i finger. I try to teach tremolo now a days like iamiP, iamiP, where its is like 1e&ah 2, 3e&ah4, etc depending on the number of bass notes. So the space is a full beat before the next tremolo. It makes a very even and smooth sounding tremolo, then I have the student close the gap between beats 2 and 3 until the are back to back with no break, but not speeding up the iami part. That is always the same speed.
Anyway, I remembered another 5 tuplet exercise from my youth, which again does not sound like what you want, but I will give it to you anyway.
E-4-5-7-5-4---------------4-5-7-5-4-----------------4-5-7-5-4--------------------4-5-7-5-4-
B---------------6-5-3-5-6---------------------------------------------------------------------------
G-------------------------------------------7-5-4-5-7-----------------------------------------------
D-------------------------------------------------------------------------9-7-6-7-9-----------------
A------------------------------------------------------------------------------------------------------
E------------------------------------------------------------------------------------------------------
A harmonic minor, you can work all the way down to the 6th and back up if you want trying to keep it even 5's. Ideally you would alternate mimim on the first string, then imimi on the other strings. But of course if you get it going fast you can do a slur here or there when you jump. This is from Paul Gilbert who would play this type of thing at around 140 bpm!
Ricardo
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 5 2007 14:09:59
 |
|
guitarbuddha
Posts: 2970
Joined: Jan. 4 2007
|
|
RE: 5/16 (in reply to Ricardo)
|
|
|
Yeah I think he covers that on his great big guitar trip video, when he has been practicing he is an awesome player. I was thininking of alternating fives with the left hand and the right hand, LH12345,RH12345 using a pattern like this legato with the left hand and then one note repeated for the right. Then 23451,23451, and through all five permutations.
I really like the way the excercise that you presented is symetrical one beat moving from and returning to the index side the next beat to and from the pinkie side. I have also been doing this with the right hand piami, pamim to try and strengthen my accuracy when moving towards the RH ring finger.
I still have a little prejudice against this kind of 'shredding' kind of thing since I covered a lot of this real quick when I learned to play electric guitar and in the end found it to be a real musical dead end, it doesn't outline harmony and seems to exist purely to make teenagers jaws drop. Saying that when you hear people like Stochelo Rosenberd and Jimmy Rosenberg using these patterns but 'thinking' harmonically something really musical can happen and a sense of melody is achieved. Perhaps I should try and recover this ground but I find it so unsatisfying musically ( maybe I need to get a rhtyhm section to fix that, but who would listen to patterns all day ?) it brings me back to when I played like Vinnie Vincent (urgh).
I'll work on the pattern a little though for fun and nostalgia, I'll play it miami (m replacing p ) on the high string and piami like standard tremolo on the lower string. Then I'll try it with the RH following the same ascending descending pattern as the left hand three finger pattern (imami,amima) then I'll reverse it to make the lH and RH mirror image. I suppose it might sound good for effect if I want to suddenly baffle a listener or another soloist.
As I recall though the main interest in this playing is as a colour effect as the distortion interacts with the reverb and Gilberts slight inconsistancy in RH muting brings out harmonics which make it even more difficult to hear it even on the rare occasions when he has been bothered enough to practive it properly to keep the clarity at his ridiculous speeds. I think Gilbert got a lot of this from Randy Rhoads (tribute album live solo uneven motifs of muted pentatonics at high speed ) a player who I have noticed still has a terrific impact on what I play when someone is stupid enough to pay me to play electric.
Great player though, seems to be bored with using maths to generate technical hurdles for himself. I could claim that I am too but this thread would seem to in direct contradiction of that claim.  .
Thanks for all your input
D.
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 5 2007 15:33:18
|
|
 New Messages |
 No New Messages |
 Hot Topic w/ New Messages |
 Hot Topic w/o New Messages |
 Locked w/ New Messages |
 Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
6.445313E-02 secs.
|
Printable Version
(no pressure, but...) 