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RE: Make your request for tablature here
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Jon Boyes
Posts: 1377
Joined: Jul. 10 2003
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 RE: Make your request for tablature here (in reply to gerundino63)
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quote:
ORIGINAL: gerundino63
I think it is very useful to built up slowly a repetoire with "songs"
It keeps you remember and study every technique, it is easy to put practicing into a song, take a solea, put some rasgueado in it some alzapua, a tremolo, llamada, and you have a song and practice everything at the same time.
Agreed. If you just practice exercises all the time, all you will able to play is exercises. If someone asks you to play them some flamenco, you won't get far playing a bunch of alzapua exercises, or some picado scales. Where's the music?
Also, building a repertoire of tunes/set pieces is a great motivator to someone learning the style. Personally I would find it tough if every practice session was just one exercise after another.
Also, you have to learn to go gracefully in out and any particular technique. Working on individual exercises will not teach you how to connect those things together to make music.
Also, most important of all, how are you going to learn the compas if you practice just exercises or individual techniques in isolation? To pick up on Patricks point about how the Spaniards learn, the important thing to remember is that they are brought up accompanying. This means from day one they are playing tunes, albeit improvised ones.
Most people don't have access to dances or singers, so learning some pieces at least is a good way of learning to play the compas of the palos.
I don't see that this has to be a black and white issue. Isolating technique is important, so is learning some pieces to put those techniques in context. But those don't need to other peoples compositions (if i can used that word), they could be ones you arrange yourself.
Jon
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REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 18 2004 12:51:39
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Miguel de Maria
Posts: 3532
Joined: Oct. 20 2003
From: Phoenix, AZ
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report on barrio la vina (in reply to Miguel de Maria)
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Florian, I went over Faucher's transcription (now I feel guilty, I'm going to have to buy a copy! :)), and compared it to my own transcription. Besides the fact that his 1's look weird, there were quite a few differences. One of them was that all of Paco's fast runs are sixteenth notes. I couldn't really figure them out, maybe he speeds up on these, as opposed to doing 5 or 6 notes per beat, as I assumed. I think he speeds up on his picado runs to show off and sacrifices compas. Although I will have to study it more, this is just an impression.
There are a couple of Paco's idiosyncracies that stood out. One of them is that he likes to use the thumb a lot, with the left hand in a spread position. Picture a barre chord with your fourth finger stretches out to hit the 9th, and that's basically the position. He does this a lot, using it as a melodic theme quite often in this song.
Paco plays with his thumb a lot, using lots of triplets in the formation of p slur p p. His remates are rather simple, and use the "downward" ornament of ima p, rather than ami p. I find this harder to do and expedite it by planting the ami before executing the ornament. It's still hard to doo fast and even, though.
Paco's picado is very fast of course, but I think one can still play this piece with a merely serviceable picado speed, perhaps sixteenth notes at 140-145. This isn't slow or anything but not nearly as fast as Paco gets up to. I think he gets up to sixteenth notes at 190 or so in this piece but I'm not sure. Most of the runs are in E minor, or E major first position, although he does do one run at the fourth position. Practice your scales folks! He doesn't play straight up and down either, he has little patterns, too.
The tremolo he plays is more complicated than one might think. Instead of playing bass and 4 identical notes he often throws in different notes on the "tremolo" part. It has a gracenote or ornamental feel, makes it sound more groovy and flamenco-ey, for sure.
Paco does a lot of this piece in first position. He uses a lot of out-of-key notes as passing tones, in a very tasty way. He alternates between E major and E minor a few times. He does some alzapua, and he does some index finger 'alzapua' as well. Play a bass note, then index down and up. it sounds like alzapua and I wouldn't have figured this out without the transcription. One nice thing about this technique is it teaches your fingers to stay near the strings and not flail around. Also you have to control how many strings you hit, sometimes you're not supposed to hit the open E string.
The little rasgeuo he does at the end is pretty much all 5 stroke x a m i i that we all learned starting out with soleares.
This is a pretty easy piece, given that's Paco's piece. Sure, to play with Paco's speed and power is impossible, but an advanced guitarist could add this to his repertoire with little problem. In fact, it's a good piece to learn because it's a great thumb workout, there's plenty of picado with various patterns, the left hand does a lot of stretches; add that there are also arpeggios, tricky tremolos, and lots of remates and golpes, and you have a "meaty" piece that will give you stuff to work on for months/years! :)
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REPORT THIS POST AS INAPPROPRIATE |
Date Apr. 7 2004 20:14:39
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