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Ricardo -> RE: What are you working on? (Jun. 29 2024 15:45:54)
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quote:
ORIGINAL: Norman Paul Kliman
I’ve been playing around with your arrangement of the mechanism, and I like it better without the pick-up note. Starting on beat 2.5 lessens the impact and doesn’t make it much easier for me. It takes less concentration, works more naturally and has more impact when I start on beat 3. While starting or ending or whatever on beat 2.5 isn't forbidden, it's a very unusual point in the compás to be using, and there should be a good reason for doing it.
Another thing that doesn’t make sense is where you got that idea in Morao’s playing. As far as I know, he never recorded that mechanism por bulería. He may have recorded it in other styles with very good results, but that isn’t a reason to use it in bulerías.
If it works for you, more power to you. Like I said above, quoting David, things go by in a flash, especially por bulería, and small details can go unnoticed.
Sorry if I was not real clear in the short video I made, but the main reason for my personal alteration (sorry it rubs you wrong that I changed it at all), is purely due to the TEMPO limitations. The double picked thumb stroke (C to Bb in your version) puts a big speed constraint for me….basically I would only be able to use this in relatively slow moving Bulería. If folks can develop that thumb accuracy at much higher tempos, more power to you guys. For me, I like to have devices (mechanisms) that will function at high or “normal” Bulería speeds that I won’t need to worry about. As for applying the ppi cross picking from Morao….well, even though I first learned it in Siguiríyas initially, he is going super fast with it, and translates it to Soleá, Fandango, Tientos, etc. The subdivided speeds in those other regimes (sometimes 16ths, or 24th notes) are analogous to what a normal up tempo bulerías would require as triplets….hence, since I was already comfortable with it, I know it would help me out in tackling this thing.
I felt I was clear enough that I simply CAN’T do it like you are doing it, at the speed I want to go. My faults alone. A while back I was teaching a student a Bulería de Cadiz guitar solo by Niño Ricardo. There are a couple falsetas that are neither cuadrao nor medio compás…he was simply crossing his phrasing, i.e., starting a phrase on count 1 that should have been on 10 for example. I had to make a decision in that moment to alter the original notes (ie “fix” the compás of the maestro) in order that the student had a functional version that would not raise eyebrows to anyone that knows better. As a flamenco student myself, I consider this an “artistic liberty” that we ALL are allowed, to some degree within reason.
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