Guest -> RE: accompanying dancers on guitar (Jan. 13 2006 6:14:55)
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I would rather follow the compas of the dancer first, and the palmas, if they are solid, than follow my own. Many times I feel them going off from what I'm feeling and if I continue down my road willfully, it's going to go off. If you know how the steps fit into the compas, you can use that knowledge to stay with the dancer during slight tempo variations, weird cortes, etc. the dancer should be capable of laying down the compas, and also has the liberty to control tempo. Certain steps can cue an immediate increase in tempo. If I'm not getting solid compas from the dance, the palmas are the backup, because the dancer is going to want like heck to be with the palmas. It's not that I don't trust my internal clock, it's that I'm there to play for them, and if we are not in sync, it can turn into a car wreak, and it won't matter if I'm right or wrong. When it's working, you hear the compas of the dancer, with the palmas, and your guitar all together. My advice is to study the steps, just as the dancers do.
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