dararith -> Compas in classical pieces (Aug. 15 2011 22:42:13)
I am in the process of learning a classical piece (God forbid). What is your stance with maintaining straight compas? When I accompany dancers, I have to be on the beat to a T, else my dancers would be frustrated (i.e. 5-10 bpm off on occasion is stressful). For a few years now, I've been submissive (and drowning my ears) to flamenco music and hardly anything else, so when I hear a piece that is out of beat, it's mentally nerve-wracking.
As an example, what do you think of this piece below?
There are some sections that goes off compas (0:50-0:59 seconds), but apart from this, I give credit in that I like the dynamics; the phrasing, emotion, and musicality of the entire piece is gorgeous. When is it acceptable to get off compas? I was told it was never okay...but I do admit, some solo or cante solea pieces stretches the compas some, and it's something I'm still getting used to and don't understand quite fully due to my lack of experience.
Ramon Amira -> RE: Compas in classical pieces (Aug. 15 2011 23:00:05)
I'm not sure you can really use the term "compas" with respect to classical guitar music. In flamenco, "compas" means more than just rhythm.
In any case, that section you cited, from 50 to 59, is not going off rhythm. In music it is called a "Ritard," short for "Ritardando," a slowing down of the tempo for emotional effect. You will sometimes hear this in a flamenco guitar solo as well.
strategic rubato.... mmm time seems more an expression than actual amazing the difference when you hear a south american guitarist play villa lobos or lauro....
hey chester lounge room recording...but the time keeps moving[:)]
as opposed to
this is also pretty cool
Paul Magnussen -> RE: Compas in classical pieces (Aug. 16 2011 16:38:36)
quote:
When is it acceptable to get off compas?
In the case of Bach and other early music, opinions differ. You will hear many top early musicians (such as Monica Huggett) use a lot of rubato. Personally, I think that sucks, but it’s just a personal preference. I prefer solid rhythm: my favourite recordings of the Chaconne are Rachel Podger’s on violin, and Manuel Barrueco’s on guitar. My favourite lutenist is Julian Bream, for largely the same reason.
