aaron peacock -> RE: What's up with this newfangled culture of "interpreting" others intrepretations? (Dec. 5 2020 3:48:04)
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Your previous post before where I pulled the above, had tons, I mean TONS of great questions. It would take hours to go through and answer each which would be a worthy (paid) Skype seminar, doubtless. I'm more here as a moral stickler stimulating consciousnessnessesses away from idolatry. quote:
However one of them was a repeat of the falseta evolution...I posted a direct response on the other thread, mark indigo a well. How many of those (free ones) did you master note for note and use in context when accompanying a singer or dancer since you reposted the question? "mastered note for note"? I was complaining about this, actually. I appreciate falseta evolution. I am interested in knowing how the game of copy-cat works. It's rather like "telephone". It doesn't completely work, that's the charm of it. Low-hanging fruit: I would wonder if I submit a crappy video of my crappy original crappy music, would one be able to say "hey those crappy falsetas are yours alone, bud" or would one say "hey here you have some bits of this, or bits of that, and I can try to think which "badly filtered modern composers ideation am I deriving this from?" With regards to the latter, I met this girl Inês at this waterfall maybe 3 months ago and I her voice alone just spontaneously mingling with notes that volunteered themselves from my guitar strings was just dandy. That was flamenco. I don't care what anyone says. in terms of playing music... there's a pandemic on ATM, you might have heard, LOL...I played a masked-up jazz set drums and bass earlier tonight, no flamenco, sorry. local association and had to end by 10:30, etc... Most of the locals in my village say something like "go play that moroccan nonsense somewhere else, now dish us something portugues" whenever I even plink some strings... about hearing "the good stuff" I'm a few hours away by car, and I don't feel the need to try to be a guitar player in such settings, and i don't feel noodly dooddly vibes in such contexts, generally, but it's not a solo guitar concert recital etc... I don't agree that rote learning of falsetas is the way to discover the harmonic structures behind flamenco. You yourself do plenty to illuminate the true structure BEHIND THOSE FALSETAS, Ricardo! I'm not asking for lessons, so lets keep it groovy and we can talk like non-equal equals. (you are a 10 zillion times better flamenco guitar player than I am, which will be evident the first time I pester you here with requests for reverse proofs of accidental plagiarism :P ) I'm not a wanna-be paco, I'm not a future student, I'm a lousy guitarist at best, and I'm also a musical genius but that's for me to know and you to find out. I'm not even a good musician, don't worry. quote:
Let me put it this way...Paco Cepero many of us might consider the best for cante of all time...I also clocked him with the fastest picado yet recorded. When playing for Camaron in front of Paco de lucia, he quoted PDL’s falsetas as a nod of appreciation. You can choose the path now, rest on your laurels or get to work. I think it's highly cool to be able to just quote PDL without generally having a lexicon based upon his work, that Paco Cepero is undoubtedly a great versatile flamenco guitarist! I'm not a flamenco guitarist, despite haunting local parks with the same damned noodly doodly for years now... I do not aim for the fastest picado recorded. I compose (non-flamenco) music and generally am interested in what YOUR take, as a MUSICIAN OF SOME DECADES is on flamenco sonorities! dig? (if i were ever to be accused of fan-boi-ism it's for Nino Rota lol) skin in the game? Respect to Ricardo. I'm using my real name here, so ignore my mosquito net jokey foto, i'm not a joking around.
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