Mark2 -> RE: Guitar choice advice (Apr. 29 2016 20:28:52)
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How about some context? The op is essentially a beginner at flamenco. I have no doubt that someone who has played flamenco for years, and picks up a superior guitar and gives Escudero's rondena a go would feel a profound sense of satisfaction. Or that a professional violinist who plays in top orchestras won't truly appreciate the difference between a good and great instrument. But a person who has yet to figure out how to groove por bulerias? Different story IMO. How does that individual even know what he'd prefer in a flamenco guitar other than his own inexperienced(in flamenco) feelings about sound and playability? How is he going to know how it will sound and play doing techniques he cannot yet execute? I found my Ramirez 1a in the want ads about six months after starting flamenco lessons. I showed up to my next lesson and proudly pulled out the guitar. My teacher looked it over, strummed a few chords and congratulated me on a very good buy. It was $700.00 He said he would have bought it himself for 700, but went on to say, "Don't think you have the best in this guitar. It's good, but not the top." I would have had no idea. Like the OP, I already had a pretty solid history of guitar playing in other styles when this happened. I still have the guitar almost thirty five years later. It's beat to hell, and I love it, but it didn't teach me how to play. Of course I think everyone should acquire the best they can, but a focus on selecting a guitar when you are just beginning, concerned that you will quickly outgrow it-I find it misses the mark. No disrespect to the OP intended. quote:
ORIGINAL: Richard Jernigan quote:
ORIGINAL: Anders Eliasson I disagree. A better guitar is a better teacher than a bad guitar. Instruments actually teach you a lot. Cheap guitars may sound well, but normally they only have very few sounds. They sound one way and nothing else. voice is onedirectional and dynamics are very poor. I agree with Anders. I had studied a different instrument, eventually with a professional teacher (Principal in the U.S. National Symphony) and eventually with a top quality professional instrument. It was a given in this well developed field that the quality of instrument would have a significant effect on your playing. When I started the guitar I went to Paracho and bought a semi-decent instrument. It had good volume, played in tune, but was rather coarse and didn't have much tonal range. I learned some of Mario Escudero's concert flamenco pieces. One day in the early 1960s I walked into one of the largest musical instrument stores in Mexico City. It is in the ground floor of the old Convento de las Vizcaínas, near the Salto del Agua. Hanging on the wall in the used stringed instrument section was a 1930s Santos Hernandez blanca. I asked to play it. All these years later I still remember the feeling of elation when I started to play that guitar, the first really good guitar I had in my hands. I played Escudero's version of rondeña, which he had learned from his teacher Ramon Montoya. I played it better than I ever had before. When I handed the guitar back to the handsome middle aged blonde sales woman, and apologized for not being able to afford it (it was several hundred dollars), I noticed she had tears in her eyes. She said, "Gracias, joven. Yo soy de Ronda." In 1967 my wife gave me a Ramirez 1a blanca, another expensive guitar, costing $650. It's the instrument that taught me how to play. I still have it, and enjoy playing it almost as much as I do my favorite flamenca, a collector's item, now worth 6 or 7 times today's price of the Ramirez in the market. During the 15 years I have had my favorite, it has taught me a few more things. RNJ
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