Mark2 -> RE: Good beginner pieces (Mar. 7 2017 20:29:57)
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This is a great contribution, and speaks very well as to how you have attained the level you have. I have endured many insults as well, but most from people without the level of your "teachers" An American singer once told me my way of expressing sevillanas compas belonged in a museum. It's true my first teacher was born in the later 20's and was working in Madrid in the 40's and 50's so my style was older than what most locals were playing. I made more effort to learn more modern ways of playing. An American guitarist said to another guitarist about me "He doesn't have the hands to play any good music" -Possibly true, but it served to inspire me to try anyway. A guitarist from Madrid I studied with explained my inability to do fast picado by stating I had a psychological problem. I wish that was the case, because I'd have seen a shrink years ago and would be doing 16ths at 180 and KILLING it! I was playing a workshop for Pastora Galvan. By this time I could pick out the palo after hearing the first few few steps or the palmas, so as she started I went into tangos. She gave me a big smile, but I soon realized she was dancing solea por buleria. Uh oh. She was in town with her father, who stopped into a rehearsal I was playing for a local dancer. He started singing alegrias. I was so star struck I changed to the B7 at the end of the first line and continued to change chords after every line, playing the wrong tono for the whole verse. He didn't say a word. Sometimes they don't have to for one to realize they have a loooong way to go. But there was that time I did an unrehearsed show for a very good dancer and she told someone after "He picks up complicated steps after seeing them once." I'll take it!! HAHA, the struggle goes on....... quote:
ORIGINAL: Ricardo I did say it was wise to have a teacher to get the base foundation to build upon. I mainly mean that the student, whatever method he or she is using to learn, needs to get feedback about their playing. Most of us mostly self taught players realize the benefit of recording oneself. That is one of the greatest teachers, so long as YOU the listener can be objective and self critical. In fact, the thing with teachers I find, it all depends on the student and how he or she can take "criticism". Sometimes criticism is harsh and not helpful, but even still there can be something to be learned from receiving it. I still get criticism today and was thinking to compile a list of things I have heard throughout my flamenco journey. Here are some off the top of my head: "You need to listen to the cante...."- this was a general thing I heard after first getting involved, but it continued until I started gaining respect from pro singers. Looking back I would tell folks, they need to listen to what the GUITAR is doing for the singer, so you know what is appropriate and expected, it's not about just kicking back with your stereo. It needs to be ACTIVE listening. In the end every guitarist ends up being a very knowledgeable aficionado of singing, like it or not. "You have good compas, but what is that THING you are playing? Get a decent flamenco guitar for gods sake"- a dance teacher told me back when I was learning and using a beat up classical guitar. I knew I needed to get a real flamenco guitar and had been saving up. Some people over heard that and told me later that she was rude to talk to me that way, but I admitted she was absolutely correct. "Maybe in 10 years he will be a good player..."- a flamenco singer from Madrid after we did an unrehearsed tablao show early on in my learning, and in response to a dancer there that was telling the singer that they liked my playing and considered me to be a decent player at the time. This one stuck with me for a long time, because again I knew the singer was not trying to be rude, and he was right on. It ecos with the famous Sabicas quote that a concert player needs 20 years accompaniment under the belt first. "Oh you don't play Malagueña? Can I borrow your guitar then?"-this from Salvadora Galan backstage of a show. She wanted to do an unrehearsed cante solo, and frankly it was embarrassing to have this little old lady out play you and accompany herself! LOL. But I told myself never again would I be unprepared. "His playing sounds "plastico"- this was from a guitarist I respected very much, but behind my back to a fellow guitarist. I think there was something there perhaps because I was not a formal student of this person, however I took it as something I needed to work on soundwise with my playing. One major change after this was getting my nails in shape, perhaps my arpeggio and picado attack etc. Years later I gained a very high respect from this same player. "In the land of the blind, the One eyed man is king....it takes more than a Paco de lucia T shirt to be a good guitarist"- This was from La Tati after I first played for her dance class, said in front of me to the dance students. Again, she was referring to the fact I had good compas but a lot to learn....and there was a little jab there about my colleagues in my local circle, not sure if they picked up on that. She said some years later that I "grew" on her, and I got to perform with her here in DC. The highest level dancer I ever got to play for IMO. "Your playing needs "pellizco"..."-this from another famous dancer. Took a while to decipher what she was after exactly, but years later I was her preferred guitarist for certain projects. "Ricardo has a heavy hand"- this from a top level young flamenco guitarist. I thought it was an odd critic, but later I demoed a rasgueado for Gerardo and class, and they all laughed at how loud it was. I realize that playing for dance can affect your dynamics in away that might not be musically so good. "Your tonos sound weird"- this from a professional singer from the Ballet Nacional. Now, what she meant was she didn't like the key I was playing in...I learned that it doesn't matter if YOU know what you are doing musically, to be respectful to the art form you have to adapt to odd or seemingly silly requests from other artists you don't normally work with. I have seen huge fights amongst the top level artists that refuse to adapt to the other's ideas. Go with the flow, be humble and support the singer/dancer when you are the accompanist. "He refused to rehearse with me, now he doesn't understand my choreography. Next time I bring my own guitarist..."- this one from a top Male dancer surprised me a lot. Because I had got like 90% of the complicated sh1t and missed one weird corte. I know this is a huge turn off for a lot of guitarists, memorizing choreography that is. I learned that if you can't take the heat you must get out of the kitchen. Step up to the challenge, even if you know the person making you go out of your way is the insecure one....again, the job of the accompanist is to make the others feel comfortable. Anyway, many more cliche put downs I have endured and also the typical butt kissing praise that this unnecessary. As a student I take what I need to advance and try not to let stuff get me down that is not a serious problem. Ricardo
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