Mark2 -> RE: Ruben Diaz needs to stop. (May 21 2014 0:10:14)
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Mariano Cordoba told me that you could play a great bulerias solo with two lousy falsetas if you had great rhythm. Today I don't think that's as true from a comparison standpoint because there are so many great guitarists that can do it all. For me, the compas parts are the ones I like the most. I've been listening to a lot of Vicente lately, and his falsetas, melodies, composed passages are as good as it gets, but when he does the remate and shows a new way of closing, that's often the part that I dig the most. I'm not convinced that exercises like doing this with palmas and tapping your foot on these beats will get a guitarist there. I tried that, it is like juggling-both hands doing something different, but although it feels good, I think it has little to do with following a dancer while playing the guitar. quote:
ORIGINAL: estebanana quote:
I don't know about anyone else on this list but I could play siguriyas and bulerias before I could mentally count them. I think it was learning the falseta and then playing it the way I heard it from the record; letting the music and its compas sink into the inner man, taking root and growing in this path. It was years before I actually learned how to count it. The same way when I played for dancers....everything just seemed to come out right after working with them for awhile.........I missed the singer style as I didn't work with anyone. I would not know I can't play three compases in compas and I stopped caring a few years back. I don't have time to practice and the guitar absolutely kills my back. I have about zero patience for playing guitar and only do enough to make sure they feel right. It's funny though I have been around a lot of high level dancers and I notice how they mark compas and then notice that guitar players are most of the time clueless about how dancers work with compas. I'm not saying I can play for high level dancers, but I have had many many of conversations with them about what they are doing and thinking about. Most guitarists are obsessed with falsetas, but not with marking time and playing with sensitivity while just making compas. It's like if a guitarist can play for five minutes with out doing a falseta and make it interesting to listen to that is a good guitarist. Like they have so many ways of expressing compas without playing one fancy thing and the compas grooves when then any falsetas they work into it will groove too. So my comment was more like if guitarists worked out like dancers. Dancers, whether they count or don't count have to make compas look and feel good even when they are not doing a corte or insane foot work. I think guitar players today put to much emphasis of falsetas and not enough on brilliant, inventive, fresh marking of compas. Well you see and hear the highest level guitar players doing this, and then they do wizz bang falsetas on top of it. And it all works an can be hard to count...But my beef is that who cares if you can play a complex falseta if the marking that underscores it is not inventive and brilliant? I wish guitar players would conceptualize compas more like dancers. Or talk to dancers and ask them how they do that interesting stuff that holds your attention, although they hardly move a muscle. That is fascinating. but I'm just guiri so what do I know.... Or maybe I just wish I made custom flamenco shoes and was a cobbler so i could hang around the ladies while fitting their shoes. Anyway just saying flamenco is more than falsetas, fancy fasetas played without a deep grounding in marking compas are the least interesting thing in flamenco. Good kick ass accompaniment is more fun.
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