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Learning to play music
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Bogdan1980
Posts: 370
Joined: May 23 2007
From: Frederick, MD
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RE: Learning to play music (in reply to Ailsa)
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I may have misunderstood. Let's try this again. First of all what do you mean by dynamics? Volume changes, ornaments, tone changes, right? If so, then I think you should try to keep as much of it as possbile while learning the piece and adhering to compas. In Siguiriyas you still have a strict compas right? One, two, three, and a four, and a five. So within that compas you are playing a chord change from Bb to A, and you can play that with a little mordent on A string, or you can play that closer to the sound hole for a deeper sound. Is this what you are talking about? If not, I'll just shut up.
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Date Sep. 2 2008 5:21:51
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Ricardo
Posts: 14746
Joined: Dec. 14 2004
From: Washington DC
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RE: Learning to play music (in reply to Ailsa)
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Ailsa, here is a simple rule I try to explain to students of all levels. You can't DELIBERATELY stretch time, if you don't have time to begin with. Learn everything metronomically first, and stretch it later as your tastes dictate. But metronomically does not mean with no feeling. On the contrary, if you play in rhythm, that means you have the "groove", well, that IS feeling the music. It is a rhythmic feeling. What happens is that some folks start with the metronome and play very "stiff" at first, which is not good, but it is OK since you are learning how to listen and relate to the steady pulse. You "follow the click" at first. Keep practicing this way and gradually you get comfortable and playing very evenly starts to feel "natural" and then dynamics and swing and other rhythmic details will be no problem, the click seems to be "following YOU". Then finally, you have the choice to turn the metronome off or not and see how you can get away with stretching time but keeping it all in good taste and correct "aire" for the palo, which ever it is. Ricardo
_____________________________
CD's and transcriptions available here: www.ricardomarlow.com
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Date Sep. 2 2008 6:51:52
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mark indigo
Posts: 3625
Joined: Dec. 5 2007
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RE: Learning to play music (in reply to Ailsa)
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I know this has been well answered to already, but here's some more! quote:
Practise everything with strictly correct technique with technique, to me it's not a matter of "correct", but "does it work" 9 times out of 10 (if not more) the so-called "correct" technique is the one that works for the majority of people, ie. it's the most ergonomic, energy-efficient, minimum movement, etc. etc. way of getting the result you want didn't Manolo Sanlucar say something like "without technique you can't play anything"? quote:
Practise everything ..... to a metronome Practically every musician I have ever encountered has recommended practising with a metronome.... and none whatsoever so far in my experience have recommended NOT using one.... a flamenco teacher also told me to learn to tap compás with my foot, with the metronome, while playing. In fact I think he told me I had to "become a human metronome"! quote:
Practise everything ..... with no dynamics Ever heard a classical player play their "bit of flamenco" they learned from the yawn martin book? (apologies to any classical players who play flamenco properly, I'm not trying to have a dig at classical players generally, I'm sure flamenco players who play the odd classical piece with flamenco technique are equally tiresome....) That's right, they whisper that thumb falseta based around a 1st position F chord with pulgar TIRANDO, and then they thrash hell out of the F/C/F/E chord progression at full volume, 'cos that's what flamenco's all about, isn't it? NO! NO! NO! Anyway, after my little rant, the point is, it's actually quite a skill IMO to get the dynamics EVEN, ie. if you can get picado, arpegio, tremelo, pulgar, alzapua and the various rasgeo's all to sound with a more or less even dynamic relative to each other, THEN you can start to play with it..... quote:
No feeling to it. I know you go on to explain that you're talking about Seguiriyas and Tientos, but seriously, I don't think "correct" technique and metronomic compas are going to mitigate against feeling.... they might even give you the ability to express more of it.... I think that a lot of expressiveness and feeling comes not by stretching the compas (although siguiriyas can obviously be quite elastic), but by playing around within it - even in tientos the elastic feel can often come from the swing within the rhythm, not from the beat speeding up or slowing down. I think it is way more important in flamenco, certainly with anything á compás, to play with strong rhythm before other considerations like tone or dynamics etc., and also that it is much, much easier to relax a strict compas than to tighten up a sloppy compas (aren't you also a dancer? Think dance accompaniment!). enjoy! mark
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Date Sep. 2 2008 11:33:13
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