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Pulgar melodies and tremolo
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greeny
Posts: 50
Joined: Feb. 26 2008
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RE: Pulgar melodies and tremolo (in reply to mark indigo)
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Hi Mark, I'm not 100 percent certain but I believe he called it a Granaina. He played so many varied styles/palos it's now become hard for me to remember what happened exactly when. What I remember most clearly was the fact that the evening was divided into two parts; the first in which he played mostly by himself or a bit later as an accompanist for a singer called Marta Heredia - De Melchor described the first part of the concert as the opportunity for him to dive into the more profound depths of traditional Flamenco playing in palos such as siguiriyas, sevillanas, soleares, fandangos ...etc. He also gradually introduced, as the program unfolded the other members of his ensemble, a second guitar player called Melchor Jimenez and cajon player Carlos Heredia. The second part of the concert was filled with various palos such as tango's, farruca, rumba, bulerias.... the more groovin' danceable styles as he called them. Even though I was seated right up in front of him and could hear and see very well, he did so much in every piece I was simply awed by the man and his art, so, to tell you two weeks afterwards what happened when and where and why and how is an simply an impossibility for me. All in all I can say that he did it all, beautifully and with a lot of grace! I'm on my way now to go and investigate those fingerings: thank you. PS: Thank you for the links with the De Sanlucar charts. It's overwhelming but very much appreciated.
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REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 29 2008 23:56:45
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greeny
Posts: 50
Joined: Feb. 26 2008
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RE: Pulgar melodies and tremolo (in reply to mark indigo)
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Mark, Wow what a clip! De Melchor is amazing. Yes, it could have been this piece where towards the end he does some dizzying tremolos in between all sorts of other melodic things. Overall, during the whole length of the concert, within many of his compositions he utilized all the techniques which are appropriate and available to him at that moment - I never had the feeling that he was adhering to a strict formula in the interpretation of the thematic materials; more that he responded very deeply to the feelings which were evoqued in time and kept on developing his own hunches and ideas on the spur. He played tremolos everywhere all night! True musical freedom! ********************************************* Back to the tremolos being discussed previously....... ******************************************** I need more time for investigation of the examples offered by the afficionados but at a first glance, so far, I've distilled the following and think they are all great exercices: all! Regular five note tremolo - extended so as to double the time length (or any other multiple) of the tremolo part itself: piami miami (Great idea courtesy of Guitarbuddha) Now, for a Rumba tremolo: pmiami pmiami pami Rumba tremolo with triplets: pimamiami pimaimami pmiami Man, this is the stuff I was looking for! The logic within the groupings is where it's at! Totally happening! You've got my work set out for the coming months, dude! Thanks. ************************************* Jan Willem's approach, or should I call it concept(?), is much more of a generalized piece of information for the fingers and mind to deal with. I believe it to contain, in essence, the definition of freedom. Utilizing the technique you described and qualified as "easy" forces one to follow one's own intuitition or creative impulse; it's in my view the ultimate level one wants to reach when one has got mastery of a lot of chops - being able to decide on the spur of the moment when one wants to leave out or drop in with an occasional "p" ! Great "right-brain" stuff for non-thought and play! *************************************************** Now, up till today I had played around with a few alternatives to the standard five stroke tremolo (piami) such as: pmami pimam pamia pmiam pmaia Most of these for me at first felt real awkward, and in my book they remain awkward even after some working out on them, but I clearly feel the benefits even after a limited period of practice (with metronome). Its all about mind over finger control, right? ************************************ As an aside two things: I bought two tickets for this coming weekend to see and hear Miguel Poveda and group: Moraito is one of the two guitar players. And, I've just purchased the Oscar Herrero Flamenco metronome - pricey but really wonderful! It just helps me to nail down some of those grooves which are totally made for guitar. I just got fed up with my computer sequencer program, Compases CD's and my still older dry metronome; this thing is really amazing. Thazzit 4 now! Later! G.
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REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 30 2008 11:08:57
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