Technique (Full Version)

Foro Flamenco: http://www.foroflamenco.com/
- Discussions: http://www.foroflamenco.com/default.asp?catApp=0
- - General: http://www.foroflamenco.com/in_forum.asp?forumid=13
- - - Technique: http://www.foroflamenco.com/fb.asp?m=15119



Message

Guest -> Technique (Feb. 1 2005 23:39:08)

I have some new technical exercises for guitar. They are useful
for all guitarists and style neutral. They can even be done with
a flat pick.

What is new and different is that this material is written to
train and coordinate the right hand with the whole left arm,
not just the left hand.

If tech is not a challenge, it's not tech.

http://www.openguitar.com/dynamic.html

daveA



Guest -> RE: Technique (Feb. 1 2005 23:42:13)

Sorry, I didn't mean to be anonymous.

David Raleigh Arnold



flyeogh -> RE: Technique (Feb. 2 2005 8:48:16)

Sorry to be negative but this all looks very classical. First it assumes you read music (which I do to some degree but I know many flamencos who do not). Secondly it does not seem to relate to Flamenco and I question the value of generic material (although I accept good technique is always helpful).

I'm in my second year and I practise everyday; but the presentation and content didn't grab me one bit. (Any chance it could be presented with tab?)

To be fair the explanation of approach was interesting to read and I imagine could be thought inducing input for teachers.

Nigel



duende -> RE: Technique (Feb. 2 2005 14:25:32)

i think technique is universal. Playing scales and arpeggios are the same classical or flamenco.

Henrik



Miguel de Maria -> RE: Technique (Feb. 2 2005 14:33:03)

I use David's exercises, and they are great. Although they would be useful for flamencos, especially ones who play modern style like Paco or Vicente, they are in my opinion more valuable for classical. That is simply because classical is much more complex. In any case, they are very helpful for the hands, pretty much exactly as he has advertised. They will take you wherever you want to go.



Ricardo -> RE: Technique (Feb. 4 2005 4:59:03)

quote:

they are in my opinion more valuable for classical. That is simply because classical is much more complex


I don't think so. There are plenty of tricky left hand things in flamenco that classical guitarists can't, wouldn't think to, and might even refuse to try. Where as the opposite is not really true. The flamenco soloist was the technical abitlity to handle just about anything you might encounter in classical guitar. But tone production (sound) is a different matter.

Anyway, once a player interested in left hand gymnastics explores the finger board patterns diatonically, these types of "exercises" seem pretty useless. 3 note per strings scales, cover it all. Diatonic arpeggios and their inversions, moving through a diatonic chord scale, cover everything else. That is how the neck is laid out.

I find the special chord voicings in flamenco are more guitar specific, than learning say jazz voicings needed to site read charts. Both are useful, but what makes the guitar sound good? A lot of competant jazz players are blown away by the flamenco chord voicings. Of course it is good to know how the neck is laid out. I don't see anything revolutionary in this guys's exercises.

Ricardo



ToddK -> RE: Technique (Feb. 4 2005 5:36:27)

I try to play both.

I have to go with Ricardo on this.

I agree with Henrik too, arps are arps.

Like Ricardo said, its the tone production that differs.

As far as complexity, i give flamenco the edge, simply because
you have all the same basic arps and such, but flamenco often
requires picado well beyond any classicals. And throw in the rhythmic
challenge of knowing and swinging in an air tight compas, and well,
you all know what i speak of , right? [8D]

Ever heard Pepe Romero try to play flamenco?

Ever heard Paco de Lucia rip Concerto de Aranjuez a new one?

I rest my case.

TK



Miguel de Maria -> RE: Technique (Feb. 4 2005 14:03:46)

I used to think the same, guys, and you are both ahead of me. But have you looked at the Chaconne lately? Or Bach in general? It seems to me that flamenco relies on several powerhouse techniques such as arps and picados and ras, developed to a hypermuscular degree, but that classical relies on an extraordinary range of techniques that aren't necessarily so impressive, individually. To me, half the battle in classical is understanding what's going on harmonically. Otherwise, it's extremely difficult to even remember something like Bach, which is an assymetrical, non-repeating "stream of thought."

But I certainly don't want to get into a flame with you guys, otherwise I won't get to ask for your advice constantly. :)

By the way, Todd, I have a CD with Pepe playing flamenco. He sounds okay, man! You think Moraito is going to do a better job with Bach? Come on!! :)



rickm -> RE: Technique (Feb. 4 2005 16:02:59)

I have a classical teacher who studied in
Vienna and New YOrk and is totally perfect in technique, execution, theory. He has hands from hell and can probably play anything written. With one exception. He has trouble with flamenco techniques like golpe, rasquedo which are not played in classical to any great degree. Certainly not with the greater variance as in flamenco. I thinnk the common misconception, which comes from Segovia is that flamenco is the bastardized form of classical, which classical folks argue as the "purity" of the guitar. It seems to be more a question of strict reliance on sameness of technique as in classical vs the artists interpretation as inflamenco. It also seems that a flamenco can play classical with the proper attention, but a classical cannot play flamenco without completely changing his attack, technique and mindset. Whichever is more challenging and more rewarding, like beauty, is in the eye of the practitioner.



Skai -> RE: Technique (Feb. 5 2005 1:35:07)

I have been wondering all this while, does Pepe Romero actually know his compas?

As we know, solo flamenco guitar imported skills from classical and made them their own. To me, flamenco has far more techniques!

But what exactly do you mean about PdL and Pepe, Todd? I think they both have the ability to play. PdL made the best version of Aranjuez I've ever heard, even though I've only 3 other versions. Narcisco Yepps, Pepe Romeroa and an unknown lady. Pepe Romero had the technical ability to handle it, but with less emotion. Yepps' climax of the 2nd movement was funny [:D] He managed to pull of a rather continuous rasguedo but without much power and at a ridiculously slow speed. The lady just seemed to strum up and down.

Speaking of Aranjuez, didn't Rodrigo compose it with the help of a flamenco guitarist friend? That would explain why there are many horrible versions by classical guitarists who can't pull off the rasguedos. They don't seem to have problems with scales at all but PdL's picado has got flamenco punch.

But I admit that classical has alot of emphasis on tone. Pepe Romero seems in between flamenco and classical. Too sharp sounding for classical, yet not a true flamenco guitarist.

Cheston



Page: [1]

Valid CSS!




Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET