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My second time accompanying...with Jim and Ron
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Ron.M
Posts: 7051
Joined: Jul. 7 2003
From: Scotland
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 RE: My second time accompanying...wi... (in reply to Guest)
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quote:
Ron, I'd be interested in your idea about breaking into 6s.
Andy,
It's not anything you don't know already, it's just that I think when you are learning, it's easier to feel the mood and phrasing of Soleares better by thinking of it in two pairs of 6 rather than a straight 3, 6, 8, 10, 12
In the first six, beat 3 is the climax with 4,5 and 6 quiet(er) to give the 3 "room to breathe", then in the second six, 7,8,9 lead to a resolving 10, with 11 and 12 giving the 10 "room to breathe".
It was an interesting experience working with a dancer, but I got the impression that it requires a lot of "pre-arrangement" of choreography and guitar to work right, much as you have said in previous posts.
Although if you're interested in doing that and putting on shows etc, then I think it would be a lot of fun.
I still think cante accompaniment is really what I'd like to learn most.
But there's no doubt that hours and hours of working in a dance class must improve your compás and rhythm immensely.
cheers
Ron
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REPORT THIS POST AS INAPPROPRIATE |
Date May 28 2004 13:04:16
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Ron.M
Posts: 7051
Joined: Jul. 7 2003
From: Scotland
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RE: My second time accompanying...wi... (in reply to Ron.M)
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Good tips Andy, also the palmas tips in your later post.
I might be wrong here, but this was just my impression...
I had a feeling that the dance teacher had a number of mini routines or rhythmic patterns which she mixed and matched to produce a certain routine.
Now when Jim asked on which beat she was starting a particular piece of taconeo she had just demonstrated, she had to stop and think and work it out.
Even then it sometimes wasn't clear to me. 
I had a sneaking feeling that when dancers practise with an unfamiliar record, they listen then "get in sync", with a familiar beat.
Now generally, since the footwork will be sounding 1 or 2 times (or triplets) per beat, they will be at least "keeping time".
If they get out of compás then they will add a few steps in to finish on the 10.
In the above case, they know the recording is correct, so will adjust to get it right.
But when working with a "live" guitarist, they may "wing it" with a number of rhythmic patterns and movements which to them may sound and feel cool.
So when they end on 8 and the guitarist ends on 10 then the looks start. LOL!
To be fair to them, I've worked on making up the odd buleria falseta, which felt and sounded ok, but when I've counted it out is maybe 2 beats over or under.
It can sometimes take a bit of working out to see just exactly the timing error happened.
(Usually the bit that produced the error was the "cool" bit, and once corrected doesn't sound cool anymore! LOL!)
Previously I had always thought of dancers as being pretty much flawless as far as compás goes since that is their main stock in trade.
But now I'm not so sure.
I think they find it just as difficult and confusing at times just like us.
cheers
Ron
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REPORT THIS POST AS INAPPROPRIATE |
Date May 28 2004 17:09:25
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Miguel de Maria
Posts: 3532
Joined: Oct. 20 2003
From: Phoenix, AZ
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RE: My second time accompanying...wi... (in reply to Rob)
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I think a good analogy is the level of experience of the dancer to the guitarist. Most of us know a few compas patterns, a number of falsetas, a varying number of desplantes. Now, give us some palmas, and watch us go! We're going to be throwing these things together, hopefully with some semblance of order and drama, and not just a Tomatito-like vomit of falsetas.
Probably dancers are the same, they have their little "falsetas" of dance that they can hopefully throw in here or there.
Just like guitarists, the more "falsetas" they know, the more rhythmic patterns and moves they "own", the more improvisatory their jams will be. But most students cannot jam at all and most dancers, non-Spanish pro or not, are not good at it.
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REPORT THIS POST AS INAPPROPRIATE |
Date May 28 2004 17:58:16
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