Ricardo -> RE: Is It Important (Mar. 21 2014 12:15:04)
|
quote:
It's kind of getting it arse about face but I think a good technique would be very advantageous to everything one would need to know to really learn flamenco. Learning it completely outside the world of flamenco (from videos, here, etc.) is hard enough but being able, for example, not only to handle the basic techniques to an advanced level but to change between them with the ease that paco's music requires would speed up the process immensely. There are different disciplines for different music styles. In classical guitar, it seems, lots of things are about finding a technique or fingering to execute some passage of music. For example, finding fingerings etc that work for adapting a Violin sonata or cello suite to the guitar, one faces technical "hurdles" that need to be overcome. And there will be multiple ways to do it, and therefore multiple interpretations. Some guitar pieces (in classical world I mean pieces composed for the guitar) often not even composed by guitar players, so similar issues. THen there are piece composed by players that lay more comfortably on the instrument, but we often just claim the pieces to also be "easier" even if musically they are sophisticated. When we talk about studying the traditional flamenco, or rather within that music lies the base, we are not implying that the student mimic the sounds on a scratchy old record with chunka chunk chords and an out of tune singer. We are talking about specific techniques that were done by the maestros of old that are like "devices" that help your hands deal with creating the flamenco sound. In other words, the music comes out as a result of techniques, so we don't need to look back and find a way to learn that music. This thing is not necessarily specific to say N. Ricardo or who ever, but carries through to the modern players. Hence, the seeming fluidity of any modern maestro is a result of music being an expression of the technique already "mastered". Creativity and expression all able to flow as a result of having certain "devices" down cold. This CAN be learned via a modern player as well as an older player. Further it is a miss conception that the music of say MONTOYA was easier than all the rest, not AT ALL true. THe point there of studying Montoya is that we have the base FORMS blue printed. Inside these "pieces" are also the advanced technique devices used by PDL or any other modern player. There are not really any new techniques I have heard since Montoya. But we might suddenly notice a technique because of a how a modern player USES it to compose his own thing. (an example is flicking rasgueado, that Montoya certainly used but not as often as say CHicuelo). People talk of Moraito, often , as "easy" flamenco, yet when you sit down and try to make that sound without the technique he posses, it doesn't come out, as easy as you might think the music to be. Yet if you had studied a bit of PDL or N. Ricardo technique devices, well then perhaps you can get that sound quicker. THere is a large percentage of new comers to flamenco that sit down and try to learn PDL music note for note by ear, or from a score....like I said, it CAN be done (learn proper technique and extrapolate the base of flamenco form and technique etc) but it is not easy without a teacher or guide to point out the IMPORTANT details that will help. True, it is no easier when looking at music of say N. Ricardo...but in the older players, the technique devices become much more clear and obvious, hence so many of us point to the old school for getting the base down solidly. Ricardo
|
|
|
|