Ricardo -> RE: Bulerías basic timekeeping. (Dec. 13 2006 22:06:52)
|
quote:
I mean that some people cant play a complicated falseta without a crutch. I understand what you are getting at. My drummer friend once called practicing with "Dr. Beat" or programming a drum machine to support your "countra" rhythms, was like a "potty training" metronome. Point being you have to beable to do that stuff by yourself, with only a click reference. So I agree with you here. But I think my main point is that if a player CAN'T do it to just a click, then he is not really "doing it" properly, even it is seems ok with his "crutch". It should be no problem, or not a chase game or whatever. The people that CAN do it are the ones I refer to. They jive better with live people than folks loosly chasing the click. I dont' consider the ones useing a "potty training" method, necessarily "tight" players. It can be tough to hear someone playing with a metronome or drum machine "wrong" and have to say to them, "no you are not tight with it". Then they get all stiff and unnatural because they are fighting the thing. But it is part of the growing processes for a musician that wants to play with others. quote:
The diffrence is that it´s not a rythm you can´t always tap your foot to. True, but my point is that OFTEN TIMES, IT IS. I mean without palmas or guitar, snap or tap, just the melody itself, of say solea, Alegria, bulerias, tangos, etc, gives plenty of rhythm information. Hereing the melody, and know how that melody feels in the compas, the listener should be able to find the singer's internal tempo beat from hearing him sing a capella. Unless I am not getting the point, it seems Estela was saying this is NOT true, hence the strangeness of Farruquito's bulerias. In my experience as an accompanist, I have had to "come in" with only the first 3 words or syllables of cante as a rhythmic reference, with a couple different singers. Those 3 syllables tell you where the beat is, and how fast you need to play. I learned that by making mistakes until I started to hear how the melodies fit into the compas, proper. I know that singers have lots of room for liberty and improvisation, but even there, the rhythm can be expressed with the voice. I have also struggled with singers who obviously did not know the compas, and had to decide in a split second to follow or lead, depending on how crossed it felt. Working with many different singers helps, but not a luxury for most foreighnors. But even still, working extensively with ONE good singer, and refering to recordings, can at least get one on the right path so at least a freakin juerga won't fall apart because of issues of not being "together". Ricardo PS, I am going for 12 pages with this thread. That way I can refer folks to pages 3,6,8,10,and 12, or pages 2,4,6,8,10, 12, or 7,8,10, etc, depending on what is needed. This has all been cleverly planned! [8D]
|
|
|
|