quote:

The rest, I rely on intuition and filling gaps with small upstrokes. Is this a good approach? Do you need to keep track of every single beat while playing?

quote:

ORIGINAL: Ricardo

quote:

The rest, I rely on intuition and filling gaps with small upstrokes. Is this a good approach? Do you need to keep track of every single beat while playing?

You should at least understand the need to keep track of every beat and every subdivision in-between, very precisely and lucidly. Over time you won't need to do that and just "feel it", but even the top dogs have the odd ball phrase they created from intuition that was simply off mathematically. That is because they only feel subdivision and accents and don't intellectualize the counts. There are examples especially in bulerías of odd 3 count phrases resulting in ambiguous 9 or 15 count compás expressions, by Niño Ricardo, Sabicas, Manuel Morao (more so in Siguiriyas than bulería), Niño Miguel, even Paco de Lucía, probably others that I don't know about. Moraito was in a master class where he could not get the math straight on an old siguiriya thing that was simply off mathematically. There is also a 14 count fandango phrase I first heard from Felix de Utrera that is repeated often by Moraito.

So feeling it intuitively is the ultimate goal, but it can also fool even the best that everything is "correct" simply because it "feels correct". As a teacher of this stuff, when a student wants one of those ambiguous ones I have to take liberty to correct it so it works out either as a half of whole compás, and make them aware what exactly I changed (added or subtracted something) for the sake of authenticity.

quote:

You should at least understand the need to keep track of every beat and every subdivision in-between, very precisely and lucidly.

quote:

Are you saying, that right now, I should keep track of every beat when playing with compas loops even with the more syncopated falsetas?

quote:

ORIGINAL: metalhead

quote:

You should at least understand the need to keep track of every beat and every subdivision in-between, very precisely and lucidly.

Are you saying, that right now, I should keep track of every beat when playing with compas loops even with the more syncopated falsetas?

quote:

ORIGINAL: metalhead

lol what do you mean "you? especially"? I have improved a ton.

quote:

oh shoot, I thought you were Devilhand!! my bad.

quote:

Rumba is the inferior easy rhythm expression of flamenco, right??

quote:

ORIGINAL: metalhead

the one with an accent on the "a" just before beat 2? Like 1 e & "a" 2?

I have never played rumba so I must not be familiar but can you give examples of this happening?

How is that humanely possible to do in rumba? From the little bit I know about rumba, it seems to be played 180-220ish zone. In such a case, doing such an awkward syncopation for a 16th note at such a high tempo looks quite challenging.

quote:

How is that humanely possible to do in rumba? From the little bit I know about rumba, it seems to be played 180-220ish zone

quote:

ORIGINAL: metalhead

I have always been a metronome guy but have incorporated playing with compas loops too.

I have seen that for more intuitively phrased falsetas like the ones by PDL, playing with compas loops is not difficult once I have already practiced the falseta a good amount with the metronome.

But for highly syncopated falsetas and falsetas with 'unintuitive' rhthym, I find it difficult to play with compas loops.

Right now, my strategy is to choose a few 'checkpoints' in the falseta. For example, if a particular note in the falseta falls on a beat like 6, 8 or 10, I keep a check when playing whether my playing coincides with the compas loop.

The rest, I rely on intuition and filling gaps with small upstrokes. Is this a good approach? Do you need to keep track of every single beat while playing?

What I mean by unintuitive and intuitive: if you have learnt PDL's falsetas, then you might have seen how his falseta 'sings' with the compas. Contrarily, highly syncopated falsetas don't have this 'singing' thing going on with their rhythm. Or maybe I am not advanced enough to feel their singing, I could be wrong.

The question is specifically for Bulerias.

quote:

The rest, I rely on intuition and filling gaps with small upstrokes.

quote:

The question is specifically for Bulerias.

quote:

J. McGuire: guiarists should be always aware where exactly in compas they currently are
El Amir: you should try to play towards the main accents before you start messing with the syncopation
Pedro Cortes: put a metronome and make your own exercise in which, say in buleria, you emphasize a given beat out 12 with a downstroke or 2-finger (m,i) rasgueo.

quote:

no counting, just doing, feeling.

quote:

This guy is doing golpe with his ring finger.

quote:

ORIGINAL: devilhand

quote:

no counting, just doing, feeling.

This guy is doing golpe with his ring finger.

quote:

ORIGINAL: Stu


This video seems to be fun and accesible and very helpful.

quote:

Is it not how everybody else does it??

quote:

the ring finger golpe originates in Chile (ida y Vuelta)

quote:

Thanks, I'd say to go further and put accents at less obvious places and do the same thing.
And I also find it is fun to do 2-finger m-i rasgueo followed by i+golpe on the accented beat.