|
Mark2 -> RE: If You Were to Learn Flamenco All Over… Where Would You Begin? (Feb. 15 2006 21:03:05)
|
I'd start by studying Spanish, and the compas of tango, solea, bulerias, and alegrias, then the other forms like sig, fandango, sevillanas, tientos, etc. I'd learn to do basic palmas for these before worrying too much about playing compas on the guitar. At the same time I'd be learning the chord inversions that are common to these forms, and practise changing between these chords, finding out on which beats of the compas to change chords. Once I had a handle on these things, I'd get into a dance class where I'd sit with a more experienced guitarist and learn more chords from him, and try to pick up what I could. I'd be putting in long hours practicing the basic techniques of rasquedos, picados, alzapua, arpeggio, tremelo, pulgar, using simple falsetas as exercises as well as classical guitar exercises. I'd be using a metronome or a compas aid, like a midi file. At this time I'd be listening to records and trying to hear the relationship between the melody the singer is singing and the chords that are being played. I'd be working on transcribing simple falsetas and also the chord inversions used to accompany specific letras and melodies. I'd try to be able to at least hum, if not sing, these letras in compas while I accompanied myself. I'd hope to make the jump to playing for the class by myself at this point. Once I could play for a class and accompany some basic dances, if I had not already, I'd go to Spain to continue. If I wanted to be a professional, and felt that I had the time, money, and talent to do so, I'd try not to leave. The whole time, from the very beginning, I would be studying with a teacher whose style I liked, and who demonstrated by regular performances that he was familiar with accompanying cante and baile, as well as capable of performing an at least interesting, if not astounding, solo. I would also expect him to be able to show me the simpler falsetas of the guitarists I liked and, in an ideal world, be able to explain the theory behind the music, be able to guide me in the composition of my own falsetas, be able to help connect me with other guitarists, singers, and dancers at or near my level, and give me opportunities to perform when the time was right. He would also hopefully instruct me on other matters related to the business of music, the politics of getting work, and the mental preparation needed to successfully perform in public. I wouldn't expect to get all that from the same guy, and would be open to changing teachers as the need and opportunities arose. I would also not forget about basic music theory, including chord and scale construction, and basic harmony. At that point, might as well learn to sight read just for kicks- might want to play other music once in a while or do other kinds of music jobs, so why not learn to read? Sounds simple, if only I had known it all 20 years ago..............or actually 30 years ago.
|
|
|
|
