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Ricardo -> RE: Segovia and Yepe (Mar. 26 2006 15:29:24)
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quote:
SO maybe CLassical players learn more from Flamecos eh.
And not the other way around.
Except Flamencos usally can't do very good arpegios.
Well, on the contrary, the thing that really caught my ear at first in flamenco was the flowing arpeggios of solea. It sounded smooth like piano music, vs the classical guitar arps I was used to sounded like exercises. In fact everything I heard flamenco players doing at first sounded like it flowed naturally on the instrument, like that is the music it was made for.
Truth is I love Bach, I think he had cool rhythms. Prelude in E major has "bulerias" type falsetas and phrases if expressed the right way. I have yet to hear it played in the groove. J. Williams was closest but right at the best moment, he jumped and was a hair late on the position change. I know the stuff is hard, but without the groove on I think a big part of the music is lost. I loved Glenn Gould (pianist famous for Bach playing), he had great expression with rhythm, yet he got the typical critique "he was a machine, robot, no feeling, yadda yadda".
Roland Dyens, man he is great. But he is not your typical classical player, he certainly has world music influence, and he is a composer. Let's take Barrueco as a more typical classical player, who is certainly at the top. He does good with Spanish stuff, Bach, modern, you name it. He played a tune with Al Dimeola, the same tune Paco played with Al on "The Trio" album. Ok, it is not classical, it is not flamenco. It is music for the instrument, the classical guitar lets say. So Barrueco was really stiff and strugglin. He admitted it was the timing that was hard for him, even though he is a world famous concert maestro! The best flamenco player is much more versatile musically than the best classical player, if for no other reason than rhythmic feeling.
Segovia was born in Linares, which is in Andalucia where flamenco is from. I would be surprised if he did not know how to hum Taranta. But was born in the 1800s long before flamenco players were doing high tech stuff. I feel classical and flamenco guitar have evolved together technique wise. But Segovia DID make comments about PDL, which simply shows snobbery IMO. Segovia gave the guitar a place on the concert stage with classical piano, cello, violin etc. PDL showed later that not just the guitar but FLAMENCO MUSIC could also be appropriate for the concert hall (in Spain I mean). I doubt that if it were not for Segovia (or someone like him), PDL would not have gotten the chance. But fortunately, the younger generation is letting go of the snobbery of classical guitar being higher class than flamenco.
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