tf10music -> RE: Syncopation in flamenco (Jul. 14 2020 14:11:20)
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quote:
I know what you mean. But for a beginner rigid categorization you mentioned above is essential to understand what's going on. If one enters a new music genre one has to learn to feel the underlying beats first. In flamenco we have this rhythmic framework 12 beat compas. To orientate within 12 beat compas we have to deal with numbers and rules. There's no other way or a shortcut. I don't know what you mean by the arrangement of beats. The subdivision of beats? The subdivision of beats (quarter notes) down to 8th, 16th and 32th notes offers a wide range of choices we can mess around with so that we can improvise and interpret music in many ways. It includes everything you mentioned like timing, rest, syncopation, tension, articulation etc. Again, this is essential for our understanding first. What can happen after that is a different story I guess because I have a long way to go. One thing is for sure, until then one has to listen to a lot of flamenco. But not blindly. I mean listening to flamenco and at the same time knowing what's really going on is important. In my opinion, the best way to internalize docetiempo is to sit across from a guitarist who already has it mastered and play along with them. I spent a while trying to keep up with the numbers, but eventually I realized that it's more about anticipation, projection and feel...internalizing the 12 beat compás isn't primarily about the numbers. This is particularly true of bulerías, in my opinion. I can play in 12, in 3s, etc, etc, by myself, but it never sounds quite right when I make those decisions (not yet, anyways). The key is knowing how it's supposed to sound, which is something that I've only been able to learn by sitting across someone and being forced to follow along. That's how you organically go back and forth between these understandings -- which, again, is about feel and anticipation. I wish I'd started out in that kind of environment -- the time I spent trying to learn on my own caused me to develop all kinds of bad habits. I'm not really talking about subdivision of beats so much as the way they initiate time when they happen and, in their patterning, generate anticipation by projecting out over a possible future. But honestly, the Hasty stuff is probably a bit too abstract for this discussion...I just wanted to show that there are very technically-minded theoretical musicologists who recognize the limitations of rigid categorization and are trying to think their way around it.
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