THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Full Version)

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JBASHORUN -> THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 3 2005 16:29:11)

Hello again everyone,
I was just thinking... how important really is SPEED when it comes to playing the guitar? Jon was saying that PDL was fairly fast even when he was young, and having seen the PDL DVD, I'd have to agree. But I was also listening to PDL & Al's 'Rio Ancho/Mediterranean Sundance' song off the 'Friday Night...' album, and to be honest, I find all that fast stuff pretty impressive sounding.
But Skai (Cheston) was saying that his favourite quote off the PDL DVD was the one where he admits that despite being able to play fast scales, he sometimes prefers to slow things down a bit. And I would also have to admit that this can be true too, as I think (personally) that the original (and less flauntful) 'Rio Ancho' track off PDL's 'Antologia' album is superior in terms of composition and "flow". On the DVD, PDL also seemed to frown upon his 'Guitar Trio' work, likening it to "a circus" because of all the expectant fans wanting a dose of speed-picking... you can hear the way they shout and cheer every time Paco or Al pull off an impressive run.
BUT, I CAN understand the mentality of wanting to hear fast stuff, as it IS impressive. It converts right across the guitar genres, with metal and shred artists like Michael Angelo Batio, Chris Impelitteri and Yngwie Malmsteen being much admired, it has to be said, primarily because of their impressive speed. My current guitar teacher also frowns upon the really fast stuff. Partly, I think, because he can't play it himself! I think he appreciates the skill involved, but seems to think it's something that I, like him, will grow out of.
So just how important is it to be fast? There are definately some things that just won't sound as good played slowly, but in opposition, speed without other elements (such as melody/composition) would perhaps be futile. I have noticed that most of the virtuoso guitarists (Flamenco and otherwise) seem to be able to play fast. But personally, the virtuosos I like best are the ones who CAN, but don't always (if you know what I mean).
Unfortunately, I'm quite a slow guitarist [:(] and I suspect that developing virtuoso-style speed may require natural prestidigitation aswell as years of practice. So should I resign myself to playing at a slower pace... or is it worth chasing those dreams of lightning-fast fingers? As usual your opinions on this subject are appreciated. Thanks.



James



Miguel de Maria -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 3 2005 17:28:06)

I have been chasing speed for a few years, James. I believe the #1 consideration is how much you really want the speed. Myself, if I hear a guitarist and he doesn't at least once in an album or a concert, bust out that superspeed, then I am disappointed. This seems shallow to some people. But to me, it's important. My favorite spots on Paco's albums are when he lets it loose. There's this climax, he builds, and then he kills it (remate) with this incredible burst of speed and power. How can you beat that? Really, everyone builds and ends with the remate but when you have the ability at your disposal to build that kind of contrast, it's just so much more fun.

So for me, it is very important and that is why I have devoted much of the last few years in obtaining it. Now, it is very important to understand, that speed is not about chasing speed (as ToddK informed me). Speed is a byproduct of accuracy, fluency, balance, and mental factors. You have the speed you need in your fingers, what you are missing is the training and knowledge of what to do with it. Once you get everything set up, everything trained and aligned, then the speed will come effortlessly.

This is the hardest lesson to learn of all--that speed comes from being slow. Practicing and learning and sensing what your hands wants to do, making sure you can play a SINGLE NOTE very well. This sounds like mumbo-jumbo, but it is the truth. If you spend your time building a solid and sound foundation, then you can go as high (fast) as you want. I highly recommend going to davidrussellguitar.com, and reading his tips and the interviews (and watching him play). One problem with flamencos is that they are not that committed to sharing and teaching (especially over the internet). Many of the technical problems and ideas you need can be found in the classical guitar world.

You think you want speed, but what you really want is mastery--because speed is a byproduct of mastery. Mastery is available to you if you really want it. If you really want to master the instrument, you will seek and look and buy and sell and beg and over the years, you will get it. So, don't worry about "talent" or what some great players say ("I was born knowing how to play the guitar, and you weren't so what can I say"). If you want it, go get it.



Jon Boyes -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 3 2005 19:20:29)

quote:

ORIGINAL: JBASHORUN
So just how important is it to be fast?


In the top ten of attributes, it comes in at number 4.

Rhythm is number one.

Jon



Jon Boyes -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 3 2005 19:29:05)

quote:

ORIGINAL: Miguel de Maria
This is the hardest lesson to learn of all--that speed comes from being slow.


In the early stages of developing a motor skill, yes, but at some point if you want to be able to play fast you have to practice playing fast because the motion is intrinsically different at speed. If you video someone walking and speed it up, it does not look like running. Sprinters train by sprinting.

Jon



Miguel de Maria -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 3 2005 19:42:23)

Yes, but at what point can we say we have the fundamentals down, unless we actually go back and work on them? How many people here on the internet, if you say let's hear you play one, two, and three notes in a row very well, are going to pass that test?



Ron.M -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 3 2005 20:42:37)

I think speed can only be used when, in that point in the music, it expresses exhuberance....when the culmination of ideas just has to end with a lightning run.

Paco has been known to do both.

Sometimes the run is "stage managed" and although pretty exciting, is just a good trick.
Other times, it is breathtaking and "just right" for the music.

Post Paco, fast picado has become a main part of solo flamenco guitar now.

Some use it, most abuse it IMO.


Ron



Miguel de Maria -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 3 2005 20:52:29)

I agree, sometimes it's used in a more textural way, people like Nino de Pura, Rafael Riqueni, Canizares (I think) might play a "run" that is a good twenty seconds long. To me, this dissipates the magic of picado, which should be a quick and exciting flash like lightning, or a thunderous remate.



bailoro2000 -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 3 2005 21:01:02)

Forgive the comment Jon, but I can't see playing guitar is a whole lot different to flamenco dance in this respect: If you want to do it fast you have firstly to be able to do it slow. Faster is simply a quickening of a slower pace. Your "walking speeded up isn't running" is because in walking your action is entirely different; straight legged as opposed to running slowly speeded up being exactly the same equation as speeding up any other action rather than doing a different one. Slow running speeded up becomes fast running. Waking is walking and speeded up is just fast walking. Surely picado practise is a good example of this?

Well, I know what I mean anyway[:D]

Jim.



Miguel de Maria -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 3 2005 22:04:33)

Well, Jim, Jon has a point (although I think that emphasizing his point in pedagogy is ultimately damaging to the student). When a guitarist practices his scales (picado), there is something called "break point." Basically, it's a second gear, and the motion and feeling is different from the 1st gear. A lot of people's break point is somewhere around sixteenths at 120 bpm.

Playing at these speeds is not exactly the same thing as playing more slowly. There is a point, where you kind of have to let it hang out and just go... On the other hand, I do think that slow and deliberate practice is foundational. Without the foundation the 2nd gear is useless, sloppy, and doesn't sound good (this is kind of the stage I am at. You can listen to my old sound samples to find examples of quite fast, but sloppy and useless picado).

I am trying to clean up my foundation, and the results will be audible.



Skai -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 0:37:33)

In order of importance for flamenco guitar (in my opinion):
1. Compas
2. Basic foundational techniques
3. Feeling (and LOTS of it too)
4. Speed

And I also agree that I can go decently fast, considering I'm quite a new guitar player, it's just that it sounds stupidly sloppy. [:@] But ultra-speed throughout a song isn't called music IMO, it's a circus stunt act. Which means, Malmsteen etc. are all pieces of crap that have trained themselves so much to become robot-like. A great musician to me is a great interpreter of emotions through music. It's partly due to tempo changes that music has feelings.

Anyway, how's your hand doing James? Remember not to over-strain it, have fun learning and playing. You don't have to be excellent technically to enjoy playing so don't be in a rush to master everything (though I must say things get more fun once techniques aren't an obstacle anymore and you can concentrate on other playing aspects instead [;)]).

PS. The darn CDs I've got seem to be in a format that only my portable CD player can play and not my HiFi set LoL, let me know if that's fine. You'd still be able to play it on your computer though.



duende -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 6:18:09)

it could be MP3´s



bailoro2000 -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 7:38:46)

Skai, maybe a stupid question from someone with no technical music knowlege:

Do you not feel that "personality" should be in your equation? It's just that we are all different and I feel that this must somehow reflect in the way we do things. I mean, a reserved sort of person can play technically brilliantly and yet someone who is totally
outgoing might not be quite so concerned with total rule obeyance yet put something into their music that appeals greatly. Flamenco seems to highlight this when someone with a battered old guitar, maybe not even in perfect tune, can produce a sort of magical ambience that lights up their playing. The same thing happens in blues.

As an example, synthesiser music may be musically perfect but a little "soul-less against an instrument that is tuned and a player with real charisma. I suppose I really mean a sort of tone-colour and mood variation that makes music different when the same piece is played on the same instrument by different players regardless of speed. When the player adds himself to the music.

Just a view. Like I said, I'm a listener rather than having any musical education.

Jim.



Jon Boyes -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 8:16:21)

quote:

ORIGINAL: bailoro2000
Slow running speeded up becomes fast running. Waking is walking and speeded up is just fast walking.

Hi Jim

Ok, video someone jogging and compare it to a film of the same person sprinting.
No, it isn't the same motion and that's precisely my point. I like Michael's 'gear' analogy -ballistic movements are simply different.

Here's an example of what I mean:
If you were out of condition and had to train for a 400m sprint, how would you do it?

If your method is to simply jog around the 400m every night (slow practice), getting your technique right, then when it comes to the race you'll find yourself being left behind.
You could of course opt to try for a slightly quicker pace every evening, but in that case you will won't be practicing at the required performance speed for some time.

Well as you are out of condition, you can't simply go out and sprint 400m, so what do you do?

Now of course we need to do something slowly *at first*, that's common sense, and I said that above. The point I'm making is that once the foundations are there, we have to look to the actual requirements of the performance skill itself.

Back to my analogy, I would go out for a jog and after ten minutes I would do a 20m sprint, then keep jogging. Then after another ten minutes I would do a 30m sprint, then continue jogging.

The next evening I would jog and then begin my sprints at 25m, then 35m, get it?

Eventually, I would sprint the 400m in one go. The principle is that I am practicing the actual performance skill (sprinting) in small controlled chunks, and building my ability to control this for longer periods.

This kind of stuff does assume certain fundamentals are already in place. A beginner trying to play fast picado with this aproach would get nowhere.

Jon



bailoro2000 -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 9:23:56)

Hiya Jon.

Your last sentence: "This kind of stuff does assume certain fundamentals are already in place. A beginner trying to play fast picado with this aproach would get nowhere." seems to equate a lot of the issue into proportion. Course a lot of actions like walking and running are in-bred from birth. If fast guitar playing is, no one ever told my fingers about it[:@] Just joking and thanks for the explanation. The temptation is always there to rattle off something impressive, just like taconeo. The ability takes a little longer. I always thought there was something wrong with my guitar till a teacher picked it up and made a little magic with it. That's when I knew I should stick to dancing[:D]

Jim.



JBASHORUN -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 10:59:27)

Jon,
I think you and Miguel are BOTH right. Walking is different to running, as you said. But also as Miguel was implying, you have to learn to walk before you can run. Usually, most people start off by learning to walk competently, then progress to running moderately. Personally, I've never met a person who could run well, but not walk competently. Obviously some people will be better runners than others, for example professional sprinters, but that would be partly due to genetics, and partly down to training hard. I think some guitar teachers use the gradual approach Miguel mentioned: allow the student to master a technique at a natural pace, then speed the technique up with a metronome backing to push the speed limits at which the technique can be done competently. After all, I'd say that the chances are that if you can't perform a technique competently at a slow pace, you are quite unlikely to be able to perform it competently at a fast pace (unless you are naturally inclined toward fast playing as opposed to slow, but IMO I would say that this is rare). Correct me if you think I'm wrong.

Miguel,
Thanks for the link to the David Russell site... I'll pay it a visit.


Hi Cheston,
My hand is recovering well, thanks for asking! In a week or so, I'll start doing some light Rasgueado exercises again, which should be fun. Interesting to hear your verdict on Malmsteen et al. I would agree that there's more to musicianship than just speed alone. About the CDs... some Hi-Fis won't play copied or unusual format CDs. I had the same problem with my old stereo- wouldn't play copied CDs. However, my new one seems to play them okay, so I shouldn't have a problem. Unless they're in MP3 format, in which case, yes, I will have to use my computer to listen to them. But that's okay with me... I'm just happy to improove my Flamenco collection in any way!





James



ToddK -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 11:27:08)

Some good thoughts here.

I'm surprised nobody has mentioned the obvious.

"Speed Bursts" You DO have to practice up to speed.

The key is, you have to do it in tiny fragments.

Try this= Set the metronome for 170bpm. You will be playing 16ths against it.

Start by simply getting 2 notes at speed. Then 3. Then 4. Then 6. Then 8.
Get to know each segment, and how it feels, as intimately as possible.

If things start to get the least bit sloppy, or you feel even slightly out of control,
you're going too far.
Turn the metronome off, and just play slow groups of 4 until things sound
clean, and feel easy again.
Then hit the metronome again.

TK



Jon Boyes -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 11:41:37)

quote:

ORIGINAL: ToddK
I'm surprised nobody has mentioned the obvious.

"Speed Bursts" You DO have to practice up to speed.

The key is, you have to do it in tiny fragments.


Todd, that is exactly what all my posts above are about [:)]

Jon



ToddK -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 11:58:56)

Jon,

I think we're all along the same lines here.

Ricardo mentioned "rhythm" being important as well.
I think that's huge.

Evenly spaced notes.

I was also thinking, its good to be familiar with the odd groups of notes.
I mentioned 2 4 6 8. But i should say, 5 7 9 note groups are equally important.
Get to know how each one as if its its own song/phrase, not just a number.
Liken it to a note group in a falseta you play. The way you form these things
in your head, is almost more important than the fingers.

Once you can do groups of 9, start all over again, but this time adding a bassnote
on low E to be played with the last note of the note group.

TK



Escribano -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 14:51:25)

The original quesition was:

quote:

was just thinking... how important really is SPEED when it comes to playing the guitar


If we are talking solo flamenco, then I generally find it brash and annoying. If we are talking flamenco then doesn't it depend on the compas. Dancers and singers will influence this strongly, no?

One last thought, "is Hendrix remember for his speed?"



Jamey -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 15:05:01)

Long flurries of blistering picado irritate me to no end. I hate the sound of it in anything longer than short bursts. It always comes across as "shoe-horned" into the piece as an overly showy "look what I can do" mess. Rarely do I hear it in such a way that it sounds like it fits into the composition let alone adds anything to the music other than a distracting aside. I'm talking the really long meandering picado runs done at ridiculously high speeds.

Short bursts that play with the rhythm, accents and tie phrases together are great, but the in-your-face side-show runs are just contrived and self indulgent. It's too bad that so many guitarists, from the greats to the unknowns all seem to fall into the trap of feeling like they have to prove something to someone by doing that every so often.



Miguel de Maria -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 15:33:19)

Some great thoughts here, except the anti-speed ones ( :) ). Everyone who wants to get fast please reread Todd's posts. What he said applied to me very much. When I first decided I wanted to get fast, well I could play a little but I couldn't play fast. I played one note, and kind of arranged it so I would play the other finger immediately afterword. I kind of "cheated" the speed. Anyone can do that... at that point I figured, well if I can play the 2 notes that fast I can play 3. If I can play 3, I can play whatever. But I got the feel of the 2nd gear. If you don't know what the 2nd gear feels like you can't play fast. Once you do, you can--sloppily.

When you combine great fundamentals, great rhythm, musical awareness and conception, with the 2nd gear, that's takatakatakataka!



JBASHORUN -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 16:25:19)

quote:

One last thought, "is Hendrix remember for his speed?"



Wise words... and ones I use myself on occasion. Albeit not in a Flamenco context, Hendrix is perhaps one of the most masterful and famous guitarists that ever lived. And I can't recall him ever playing demisemiquavers (or faster)... at least not unless the song called for it. I still respect Hendrix's work to this day, even though he doesn't play that fast... composition, rhythm, soul, etc. these are all undeniably important.
Occasionally, though, as Miguel quite rightly points out: you do get the urge to play (or listen to) something fast. Fast CAN be good, as long as it is done to fit in with the music rather than just for it's own sake, or to show off. This translates across most guitar-based musical genres. IMO, when speed is combined with these other elements, the result can be truly amazing. Hence, I will try out some of the speed developing techniques mentioned, to try and increase my speed. Then, it will be down to my own discretion as a musician if and when it is most appropriate to use it.



Kate -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 16:29:44)

quote:

ORIGINAL: JBASHORUN

quote:


Albeit not in a Flamenco context, Hendrix is perhaps one of the most masterful and famous guitarists that ever lived. And I can't recall him ever playing demisemiquavers (or faster)... at least not unless the song called for it. I still respect Hendrix's work to this day, even though he doesn't play that fast... composition, rhythm, soul, etc. these are all undeniably important.



Dont forget how loud he played. A friend of ours once threw him out of his studio for playing too loud. Obviously he lived to regret it !!!

Kate



Ricardo -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 19:20:16)

Speed should not be given it's own separate category. It is an important piece of rhythm. If you are going for speed w/ out rhythmic control, than what are you doing? Malmsteen plays how ever he wants, out of time, over top of his rhythm section. There is no feeling, no comunication at a rhythmic level. That is a very different thing fromt he speedy rhythmic dialogs between Paco and Dimeola or Mclaughlin. One needs a certanin amount of speed to achieve ensemble w/ others. You don't hear piano players, violinists, drummers talk about "the importance of speed". Maybe it is because the guitar is more difficult to play "fast", technically speaking. Of course when you have someone like Paco always being asked about his amazing speed and control, of course he will say "wait a minute, there is alot more to music, and what I am playing than that!".

Once you get the concept of speed=rhythm, than you can see how speed is relative. Who is faster Paco or McLaughlin? Well, it doesn't matter since in the same piece, if they are not speeding up, they should play the same speed. You need some speed to play w/ others, the minum amount necessary. But solo, it doesn't really matter. You need to be able to at least strum very fast to accompany flamenco dance. The speed is part of the feeling. But playing VERY slow is also hard and important. It can be harder in some cases. Either way it just part of the big picture called rhythm. Listen to Indian music to see the "importance of speed".

Ricardo



JBASHORUN -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 21:36:23)

quote:

Malmsteen plays how ever he wants, out of time, over top of his rhythm section. There is no feeling, no comunication at a rhythmic level.


Poor Mr. Malmsteen! First Cheston criticises him, then you Ricardo... it doesn't look good for the Neo-Classical shredder! Although I'd have to agree with your comments... he's all speedy widdling and not enough supporting structure or composition. There are only 1 or 2 of his instrumental songs that I can actually bring myself to listen to but even those wouldn't be so good if he wasn't so fast.
Anyway... you think rhythm is integral to playing at speed. Sounds reasonable enough... no point in playing fast if you're not keeping in time. Just more evidence that it doesn't pay to place an over-emphasis on speed whilst neglecting other elements.


Hello Kate... I've heard your name mentioned a few times, but never actually spoken to you! [:D]



duende -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 4 2005 22:05:45)

Malmsteens "rising force"and "Marching out" is good music and guitar playing.

then it went downhill from there i think[8D]



Ricardo -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 5 2005 4:24:52)

I actually enjoyed those sections of Malmsteen's music where the band played together, tight, the interludes and what not he ripped off from various Baroque composers. The harmony parts w/ keyboard were intense as well. But when it came time for a guitar solo, all hell broke loose. Malmsteen claimed his solos were "bursting w/ feeling". Well, sure that is feeling. It is like an angry, "I don't care" feeling. "I don't care about the song, my sound, or the band, I just want to UNLEASH the FURY". I can totally respect that. That is a form of expression, just like any other in music. Loose soloing, aggressive. But, on a rhythmic level, well, he is ignoring his band. It is not like he is not capable, that is just his "style". I feel that is why many critics are annoyed by him and other "shredders" who play "too many notes".

It is that breakin the law rock mentality. A lot of the "shredders" including Yngwie were obviously influenced by guys like Dimeola and Mclaughlin, but rarely use the same level of rhythmic sophistication as those fusioners. There are exceptions of course. Don't get me wrong, I enjoy many different guitar genres including some of the "shredders" and rockers. I don't find myself obsessed w/ speed, but I have always liked many players who just so happend to be considered "speedy". The parts that grabbed me, ironically, were usually the "medium" speed sections of music. Like I said, speed is relative, but there is still more to rhythm and speed than just playing in time or evenly. There is accent, dynamics, phrasing, etc, which all tie together as part of the rhythmic expression.

Ricardo



duende -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 5 2005 6:35:49)

quote:

UNLEASH the FURY
[:D][:D][:D] no no not that again!![:D][:D]
I hope you guys have heard the sound clip on the net. Yngwie is getting pissed

Henrik



JBASHORUN -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 5 2005 10:03:38)

I think I'd agree in part with what Ricardo has said about Malmsteen. Take his song 'Vengeance' for example... the structure is fine until he starts the solo, then it goes all over the place.
But I feel I should point out that this doesn't by any means apply to ALL shredders. Anyone curious to hear some good shred should check out Vinnie Moore's 'The Maze' album. It is a good example of a guitarist who CAN play fast when he wants to, but doesn't always feel he has to. The composition is also very good, and there's a great Spanish-influenced acoustic track called 'Never Been To Barcelona'.



Miguel de Maria -> RE: THE NEED FOR SPEED... EVERYTHING OR NOTHING? (Mar. 5 2005 16:10:58)

This is from the superb guitarist Manuel Barrueco's website. He is conducting an interview with the guitarist Eduardo Fernandez (both are very technically accomplished, "burner" classical guitar guys):

MB: Also when we were young, some people that were considered top players then, would not be considered that today. Some people were able to break through on the basis of speed for example, today I don't think anyone is going to make it just because of how fast they play.

EF: No, any midi instrument can do it much better, any computer can do it better. I always go back to this: Playing the guitar is not a sport, it's not a question of running faster or jumping higher or lifting heavier weights. It is about an art that has its basis in sound. I find so many students that don't listen to what they do. They don't notice when things are wrong because they are not listening. They only focus on how fast they can play which I think is a completely wrong attitude to have. It doesn't work.

MB: Maybe we're beginning to sound as if we're 50!

EF: We sound like 80 by now!

MB: I remember the only opportunity that I ever had to play for Segovia, he kept telling me: “Too fast, too fast! “ ... and I wanted to tell him: “But Maestro, you recorded it even faster than this...!”

EF: I'm not saying that one cannot play fast, I'm simply saying that it is not the objective. Actually I think speed comes as a result of control. Many students try to play faster by putting more effort in it and it never works, it never works! It's completely counter productive for them. I know because I went through this too. I felt very empty when I was doing this, I felt so empty that I didn't want to go on any more. At some point I just threw the metronome out of the window, literally, I just opened the window and threw it out, and started playing. I think I was reborn as a musician at that moment.



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