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dararith -> RE: just wondering what is the difference of accompany a dancer (Mar. 8 2011 23:41:05)
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Although it's true that the left hand accompanies the singer (pitch changes) and the right hand accompanies a dancer (rhythmic changes), there's more to it then this. Here are my findings from working with some dancers:
My dancer tells me that it's all about phrasing. I can't play just straight compas. I have to do more. This doesn't mean I need more material, I would simply need to phrase and accent various parts more effectively. When the dancer slides along gracefully waving her arm in the air, I would have to 'mimic' that motion on my guitar and bring THAT mood out. This could mean that I play an elongated, yet SOFT ieami strum...and when she flicks her wrist out to the side quickly, I would do a quick and dampened attack. Also I can't just throw in a chord change whenever I want, it has to match what they're doing. This took me a long time to figure out and I'm still working out the kinks in understanding this fully. Most of the time if they're not doing anything, I stay with the same chord (haha, I got yelled at when I changed to one other chord when they didn't do anything) until something signifies a change. This is different from a break or a llamada, both of which are easier to identify (at least with these dancers) as they have special signals one compas before to prep you for it....this is another story altogether though.
So it's not just footwork. Sure you can NOT look at the dancer and play what you hear but you need to be able to see them...and a good dancer will have facial expressions for joy (Alegrias/Guajiras) or lament (Solea)...and even within those palos, the mood changes dynamically with a brief moment. So instead of just following what the dancer is doing with your right hand technique, I find that a more advance (or interesting) thing to do is to GIVE TENSION to this. If they are doing beats in 3's and you do beats in 4 but somehow meet up in the end properly, then it all works out magically giving it a really wholesome, full-bodied feel.
Another thing is the type of 'phrasing' or rather, cycle. When my dancer is teaching her students various sections of a dance or specific dances, I would have to arrange (or compose) a cycle that FITS that entire section. She may do a cycle that repeats after every 4 compas, and you'd have to come up with something that fits. Go through your repertoire of falsetas and llamadas and compases and make it work. Not only that, but you have to play it very appropriately that fits the aire at the time (whether playing it softer, louder, phrasing the falseta differently, anything to bring out a desired mood). Sometimes it's not even about mimicking them exactly, but it's about creating the right atmosphere, the right mood.
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And so much more. I could go on and on. And yet, as I realize these things from working and speaking with many dancers, I have trouble keeping up, but the work of the guitarist has always been underestimated and often times unappreciated. However, deep down there's an underlying respect.
We are creating music and bringing out a flamenco aire, so there HAS to be a relationship between you and the dancer and singer. A renowned dancer visiting from Spain once told me that a guitarist he worked with never looked at him once...and although he played great music, he will never work with him again.
Word.
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