Ricardo -> RE: question about Solea and Seguiriya flexibility?? (Nov. 27 2011 0:31:01)
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quote:
is it the tempo changing or is it the compass on/off!! I am asking this question just to clarify to my self and others about this point. I know it can be confusing when we emphasize so strong to work with a metronome to internalize compas. Point is, working with a metronome and learning rhythm, you hopefully are learning to understand subdivision of the beat. When you are really in control of it, you realize that tempo can change by the way you express the subdivisions of the beat. So for example a dancer will speed up the tempo with her feet either with a lot of notes per beat getting faster and faster, or sometimes with contra tiempo, so that the musicians follow by holding onto the perceived beat via the other notes around the beat. As opposed to just stomping the beat and going faster each time. But for solo playing you learn you can do the same with a falseta or strum. Not so strong as a dancer can if you have to lead palmeros but it CAN be done. But with an unaccompanied solo you are free to push and pull as you want. In classical music it is called rubato, and again it is a taste issue. In flamenco, when we make the tempo stretch we may slow down a melodic part to emphasize, or hold a chord that moves out of the normal tonal range....then the remates or endings that return home may speed up for drama....or a more viruosic passage may be pushed up a notch or two speedwise for more intensity....etc. But it is a taste issue and quite a different thing than not being in control of subdivision, slowing down for hard parts, moving too fast in easy parts etc. In the end a player with really good compas can stretch phrases more convincingly then one that struggles keeping a steady tempo normally. So we emphasize to students to keep working with metronome, with the understanding that freedom, true freedom will come with discipline and knowledge.
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