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rombsix -> RE: My young student Roberto (Apr. 16 2009 10:24:10)
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Hola Maestro McGuire! [:)]
Allow me to comment about the following:
“About the wrong note........... ummmm, I think you are mistaken. Vicente does phrase it a hair differently, but we certainly are NOT trying to create a clone. Even Vicente plays this differently live. "Grossly out" is a very strong way to say you think a note is wrong. Perhaps it may be the language barrier, but if it makes you happier I will have him play whichever note you think it should be. Roberto is very flexible and so am I. Perhaps he should take out the extra falseta he improvised in the middle too. He tries to be creative and I don't have the heart to tell him that changing a note or adding a falseta might be offensive to die-hard Vicente fans..... Hope you understand that I am just kidding with a bit Rombsix. I hope you don't take it the wrond way.
The notes are accurate enough in my opinion. Canizares didn't mention it in the Master Class he took with him where he performed it. If its good enough for Canizares its good enough for me.”
When I play something, I prefer to make it sound note-for-note like the original. But that’s just me, and I cannot say you are mistaken, nor can you say I am mistaken, because this is a matter of opinion. Still, let us discuss.
Personally, I find that the verb “to interpret” a piece is often used as an excuse to cover up the fact that one CANNOT actually play a certain piece 100% note-for-note, and thus one would say this is an “interpretation,” and not meant to be a clone of the original. If someone were to really “interpret” a piece, I would say that this person would actually ADD to / change the piece clearly, and in a way whereby it would seem obvious that this person has modified the piece while sticking to its general theme. However, when someone plays a piece up to about 90% or more identically to the original, and has a bit of it here and there that is NOT identical to the original, then I would say that said person is simply trying to justify the fact that he CANNOT play it completely like the original (which seems to be the original intent here) by saying that he is an interpreter. Vale? [:)]
The falseta that Roberto added to the piece is my definition of “INTERPRETING” a piece, whereby one plays parts of it fully like the original, and maybe adds falsetas or removes ones (and this definition applies to flamenco most appropriately – it is a bit shaky if applied to say classical guitar music, and I can explain why if you like). However, the part from 1:41 to 1:47 is what I call “messing a part of the original tune up” rather than interpreting. [:)]
Saying that Vicente plays it differently live every time does not really fit into this discussion, I would say. I am considering that the ORIGINAL piece is being tackled here.
Now about the use of the words “grossly off:” You say that is a very strong way to express that a note is wrong? I beg to differ. Let us look up the word “gross” in Webster’s online dictionary:
1 aarchaic : immediately obvious b (1): glaringly noticeable usually because of inexcusable badness or objectionableness <a gross error> (2): out-and-out, utter <a gross injustice> c: visible without the aid of a microscope
2 a: big, bulky ; especially : excessively fat b: growing or spreading with excessive luxuriance
3 a: of, relating to, or dealing with general aspects or broad distinctions b: consisting of an overall total exclusive of deductions <gross income> — compare net
4: made up of material or perceptible elements
5archaic : not fastidious in taste : undiscriminating
6 a: coarse in nature or behavior : unrefined b: gravely deficient in civility or decency : crudely vulgar <merely gross, a scatological rather than a pornographic impropriety — Aldous Huxley> c: inspiring disgust or distaste <that sandwich looks gross>
7: deficient in knowledge : ignorant, untutored
My use of the word revolved around the definitions above: “immediately obvious, glaringly noticeable, coarse in nature.” These definitions, I find, describe – exactly – the way I perceived Roberto’s playing from 1:41 to 1:47. I believe you found my usage to be “very strong” because I believe you thought of the definition: “inspiring disgust or distaste.”
So I would rule out the possibility of a language barrier being present. Humbly, I speak / write English better than many Americans / Brits. [:)]
About what Roberto played: the note that bothered me the most was a G# that Roberto played (in the sequence: D, G#, F, E with a capo on the 2nd fret). You say you are both very flexible and want to make me happy? Then suggest to Roberto that he review the original piece from 1:18 to 1:23, and play it note-for-note. Or maybe refer to the images at the end of this post.
And let him KEEP his falseta in the middle. It’s GREAT! Instead, have him maybe take out the part I am discussing, and maybe replace it with another of his cool falsetas. That would be a great way to interpret this piece, I would say.
I am NOT a die-hard Vicente fan, and I encourage Roberto to be as creative as possible. In the end, the ultimate goal is to become a composer and play your own material. That is why PdL is very famous, while Grisha (who might have better technique etc.) is not as famous.
And about Canizares: just because it is Canizares, it does NOT mean he is flawless. I am NOT saying I am either, but I’m just saying what I’ve been trying to portray all throughout my message above.
And finally: I FULLY understand that you meant no harm whatsoever in your above post. I respect you completely as a great flamenco guitarist, and whole musician, and your opinion is NEVER taken lightly. I just felt that I wanted you and people to know how I think about such matters. It might be a flaw in the way I function, but that is just how my personality is.
Gracias maestro! Y ole Roberto!
PS: And one last thing: What about those "moans" that you produce when you are performing music (even on cajon, and not just guitar)? Examples evident at 1:51, 3:44, 4:18 etc. [:)]
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