The slow down at the end of Kemps Jig was nice. One of my first Segovia records- and the first cut is a favorite. I've been reading through classical pieces lately.
I'm putting together a half dozen easy to medium classical pieces as it's become apparent to me that I'll have to be able to demo my own classical guitars. So far I've picked the old well knowns- Study #5 by Sor, Lagrima, Guardame Las Vacas, a Bach lute prelude, and toying with one of these Torroba pieces. Not super out going I know, but recognizable works to begin with.
As I've been practicing the classical I stopped working on flamenco for a few weeks and then returned. Noticed I was better, and also remembered why I went to flamenco instead of classical at a certain point a long time ago.
I also noticed classical practice with the emphasis on clean sound does not hurt flamenco playing at all. A lot of right hand finger nail clicking and noise is due to sloppy finger placement. Working to clean that up has made the flamenco sound better. Not because I don't some "grit" into the sound, but I'm not putting in "grit" that did not select. Still gritty, but better grade grit. HAHA
What have you guy noticed about workig classical pieces and how it effects flamenco playing?
Paul Magnussen -> RE: Charming little piece "Kemps Jig" (Aug. 13 2015 3:49:44)
For me, the definitive version is Bream’s (on lute), on the first Consort album. You can improve the guitar version considerably by using Rondeña tuning.
For me, the definitive version is Bream’s (on lute), on the first Consort album. You can improve the guitar version considerably by using Rondeña tuning.
If anyone’s interested, I’ll post the music.
I would like to hear it. ( If only Bream really played a lute. He really had a gal-lute.)
Here's a nice version on lute:
Miguel de Maria -> RE: Charming little piece "Kemps Jig" (Aug. 13 2015 17:13:59)
After studying the Sor/Segovia 20, I didn't feel the left hand would give me too many problems in flamenco or anything else. Villa-Lobos Etude #1 has helped my right hand in general. Studying classical phrasing helped me become more aware of musical concerns in general. A few years back, I took some lessons and studied muting and phrasing on the easiest classical pieces. Which become very hard when you are not letting bass strings ring out willy-nilly.
when you are not letting bass strings ring out willy-nilly.
I love that term "willy-nilly".. Never heard it before.. [:D][:D].. I think I consider myself a hybrid player though. I don't feel totally classical or flamenco... Kind of strange feeling.
Miguel de Maria -> RE: Charming little piece "Kemps Jig" (Aug. 14 2015 5:40:40)
You're just a musician.
Paul Magnussen -> RE: Charming little piece "Kemps Jig" (Aug. 14 2015 16:42:37)
quote:
I would like to hear it.
OK: I’ve added it to Audio & Video Uploads. I’ve also added the corresponding staff notation to Tabs.
Speaking of Bream, this is interesting to watch. I can't never tell if Stravinsky is annoyed or if he is as the presenter says, fascinated with Bream. Bream is certainly being smooth.
I have a old friend who studied in Bream masterclass, he said Bream was rather stiff. This guy is really good player, but Bream apparently was kind of harsh.
Miguel de Maria -> RE: Charming little piece "Kemps Jig" (Aug. 15 2015 16:13:49)
Ugh, that video is so harsh. As the young folk say, "awkward..."
Bream has such charisma on-stage and on-video, but he does not come across so well in the taped masterclasses I've seen online. A bit too much posturing.
BTW I downloaded Paul's arrangement of Kemps with rondena tuning.
Try it, the G to F# tuning makes some of the fingering more streamlined and the low D gives a lute-yer sound.
Which is funny because in Segovia masterclass video he tells a student to forget sounding like the lute and sarcastically plays like crap in imitation of a lute to dissuade them from further folly!
Now I do like Bream and Segovia very much. Both colorful characters and colorful, literally, players. And Bream could play some jazz.
Paul Magnussen -> RE: Charming little piece "Kemps Jig" (Aug. 16 2015 19:05:08)
quote:
in Segovia masterclass video he tells a student to forget sounding like the lute
And of course in those classes it was his way or the highway (as Michael Chapdelaine could testify).
But Segovia wasn’t exactly an authority: as far as I’m aware, he only ever made two (2) recordings of English lute music, and they both suck.
