Erik van Goch -> RE: counting issues whilst playing (Feb. 22 2014 0:24:25)
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quote:
ORIGINAL: Ricardo Gifted or not, students should not be memorizing notes unless those notes are intrinsically tied to the correct rhythm from the get go. It's the equivalent of trying to learn a poem, but first memorizing all the letters, then later trying to "work out" what the words and sentences where based on all those letters. The student should not move forward past the first word until it is both memorized and understood. Then the next word, then the next, then back to the first word and do the entire sentence, and so forth. I totally agree with Ricardo. This is how i study myself, how i expect my students to study and how i received and give lessons. Obviously when studying "word by word" as Ricardo calls it you are totally free to take all the time you need to get it right. Before you play anything (either a letter, a syllable, a word or a combination of words) you have to be aware of the rhythmical/musical context of every single note involved. Obviously some notes are more important as other notes. Most important are the melodic keynotes (the melodic accents). The other melody notes generally are either heading for that note or leaving it. On top you have to integrate various supporting noters like bass notes, chords, coloring notes, arpeggios etc., all to be played in a natural and clear relation to the main melody and it's natural accents. When a melodic line lacks flow it might help to play the accented melody note first a couple of times, giving it your full love and attention. Next you add 1 or more of the notes heading for it (or leaving it) WITHOUT LOOSING THAT ORIGINAL FEELING OF DROPPING THAT KEY NOTE. When things become really complicated i study the events layer by layer, starting with the main event, then the notes directly linked to the main line, next the notes linked to those notes etc. So before you play anything (either a letter or a word or a combination of words) you have to be aware of the musical context of every single note involved in other words you have to know in advance what you want to express. Next you have to find the proper technique to express exactly that feeling. Like Paco Peña i favor musical understanding and perfect biomechanics/movement/relaxation over playing it rhythmically correct at first. If i need a little more time in the beginning to handle my fingers, to check if they are sufficiently relaxed or to make mental notes of other things i find important i just take that time. Playing fluently means pairing the correct thought to the correct action and tolerating imperfections in order to be "on time" to me is another example of being impatience. Once i have my thoughts and actions covered (taking all the time i need to get them right) it is time to drill like Ricardo is doing in that bulerias demonstration. I try to avoid playing any faster then i can (perfect thought,action and execution are essential) and generally prefer to study at very low speeds. Obviously when you already have a good technique you can study new material at the tempo Ricardo demonstrated. If you are less handy just adapt lower speeds or do what i do....every time i notice an imperfection i take a step back, studying single letters or syllables again in relation to technical aspects and musical context. Above is how i study music. On top you have to study the biomechanics of single fingers/moves and parts of fingers/moves (as well as simple combinations) at extremely low speeds/free of speed. On top one also needs to do tons of tonal/dynamic/rhythm studies, just to have a full pallet of colors to chose out. Once you have the skills to execute things on the spot it's also very affective to focus on the rhythm/dynamics first and then add the notes. I generally favor to execute the pulse a couple of times in my mind first before executing it on the guitar, with or without visualizing the technique as well. But in all cases it is basically a "word by word" approach, either executed on the guitar alone or in dialog with your inner self (i used to think "how would i sing this" but switched to "how would i dance this", telling a good story having only rhythm and dynamics to my disposal).
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