|
Mark2 -> RE: Antonio Rey (Mar. 4 2019 16:12:25)
|
A member of the foro, who is himself a very advanced player, sent me a pm asking me to share some of the stuff Antonio taught at the workshop.
After listening to each of us play, and no doubt finding all of our technique wanting, he offered tips for us to improve. He went through every technique and showed ways to improve. He said you have to develop all of the techniques to at least an acceptable level.
For arpeggio, he said accent different fingers-IOW practice accenting the a finger, then the middle, then the index, thus developing more control. He learned this from Gerardo, and said it changed his life.
For picado, the same-accent i, then later, m during scales played all over the neck. Practice starting the scale with both. Avoid practicing with too much force, which could lead to injury. He was asked how he can practice so many hours without injuring himself, and again, he said he doesn't practice with a lot of force. Although he played tons of amazing picados during the concert with out so much as breaking a sweat, he said he reserves the moments of force for when they are needed.
For tremelo, play soft and even. Avoid the horse gallop often heard when people play too hard, which he said was horrible. He played examples by Paco and Sabicas to illustrate the proper way.
For pulgar, use different attacks to create different colors. With nail to create more of a treble tone, with the meat alone to create a softer sound. He flawlessly played passages by Paco and VA to illustrate.
For rasquedo, which he said was deserving of special attention, practice all the patterns with and without flicking.
And finally , in composing, lead with the melody, then the rhythm, then the harmony.
My friend remarked that if he had the ability to play what Antonio played in the concert, to put out that much emotion, energy, and passion, he'd be laid up for a month. I said I'd need a blood transfusion.
|
|
|
|
