dararith -> RE: just wondering what is the difference of accompany a dancer (Mar. 9 2011 18:23:56)
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Whoa, how did this turn into a "what is flamenco/what do I prefer" thread? When I previously said that some things were missing in solo, it was not an attack on solo (why else would I glorify it so much in the same sentence??). Surely, like you said Deniz, that there are things missing in cante as there are things missing in solo. You can't have it all... ...except, now that I think about it, you sort of can. How? Well, you just throw it all in there! Haha. But if we are comparing a specifically all solo, vs. just a all dance/guitarist, then of course there's the difference. quote:
I like flamenco in all its forms. I enjoy playing it in every way, accomp or solo. Yet i dont regard everything to be equally valuable to me. I came to flamenco via the music and nothing else. What inspires me most is the music, therefore i want to be able to make good music someday. Be it with accomp stuff or solo stuff. I always try to make it musically most enjoyable. Cante is not my major influence yet i dont look down on people who are influenced by it in a major way. I dont consider accompanists to be inferior to solo guitarrists, at least not in a way that they wouldnt offer anything to learn from. No one is attacking you on this, and I, for one, am not. We play and do whatever we find enjoyable. I was only trying to address the main question on the different ways of playing for dance vs playing as a soloist. Each of these aspects are different, and measuring level of difficulty in a quantitative manner is absurd. They are just characteristics that I'm trying to explain in the most objective way possible [hard to do]. You can affix your own opinion to them, and that's fair. I won't argue on what you like or don't like, or what you find difficult or not, as these are all subjective. [&o] ====== Back on topic, I do find that it's really difficult to compare all of this because when you're playing with a dancer, especially in a performance, you play by yourself sometimes while the dancer rests, thereby making this a solo effort. However the difference here is, the falsetas used in this solo version can be much shorter than an actual hour long solo concert where there are extended falsetas and it can be more free from compas, toque libre. The focus becomes less prominent and more broad to an audience as you add more flamenco elements (palmas, cajon, dancer, singer, etc), regardless of whether it's a solo guitar or not. Martinete is in a sense, is a solo, as there's no guitar there either, but the feel/focus is different. However there's still the similar (if not same) tension/focus amongst EACH OTHER, among each participant. My dancer calls me out immediately if I'm 5 bpm off tempo from what I was playing. On the other hand, if I'm playing a solo, an audience may not even know if I'm off, or even if they did, they may think it could just be my way of musical interpretation which is fine. However, as you add more of the aforementioned flamenco elements, the compas gets increasingly more important and rigid, just like playing in a band or orchestra, and you're not allowed to just do whatever you want with the rhythm, without ruining the overall musical integrity of the group. I rarely play in performances with memorized sections (either as a solo or with dancers/singers), but I do play a lot in juergas. I have little monthly juergas here where I live, where anybody can just drop in and we have a jam session that ranges from as little as 5 people to as many as 75. Now this is an entire flamenco audience and guitarists can even play together or take turns with random folks that want to participate. For this reason, I don't even know half of the people I'm accompanying, but I have to really focus to create my own personal flamenco flavor and groove it with theirs so it matches up. This means that the preparation work is non-existent and is purely improvisational. The dancer/singer/guitarist all work together in creating something amazing. There's an audience out there too, and when the singer stops singing, and the dancer moves away from the stage, the guitarist starts to play a falseta or solo, until someone decides to jump in the scene and start singing or dancing or whatever...but prior to that...it's become a solo. I admit this skill is different from the skills required to play a solo. And that's all there is to it. They're both different and very respectable. I'm only bringing juerga out because this is different from playing in a performance/show where there's a different skill involved... [:o] quote:
hey i am with dararith on this one...anything more then 2 guitar solos is too much for me... i am ready to sleep ...solo guitar is nice in moderation but its just one aspect of what flamenco is...i need the singer, i need the dancer i need the palmeros i need the interaction.. and i am not saying anything is less flamenco or anything....just too much of it puts me to sleep dosent do it for me ...i dont have a single solo album in my ipod Thanks Florian, I'm exactly like that too! Except...I actually got some solos on my iPod. Hey...I like all things flamenco...with singing or not. Here I am knocking my knuckles to the table at work to bulerias... [:D]
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