Ricardo -> RE: Developing Compas Feel (May 20 2006 13:56:14)
|
quote:
be carefull with syncopation though. People in general tend to push the tempo a bit... just slightly faster for every syncopation. Specialy in hard parts people stress. So it´s good to calm down and think about the mani beat. quarternotes. I try to be a bit l"aid back" if theres a lot of syncopation. Yep that is right. But it depends on which synchopation you do. I find there is also a problem with "dragging" with certain other synchopations. In general the accentuations that come a hair before the beat, people rush, or feel their sense of tempo beat coming sooner than it should, and accentuations that come right after the beat, tends to make them slow down. But it depends. When I play with a percussionist who I feel is pushing the time, I tell him to deliberately play "laid back" as you say, or "relax it". It almost always works just to say that. Same for palmeros who try to follow a synchopated falseta and start speeding up. If they are not just speeding up but all over the map, I say "don't listen to me, just concentrate on being EVEN". That usually works too. I do it myself when accompanying some crazy synchoptions for an improvising dancer. It is different when you have learned the same synchopations yourself, then you can listen and contribute to the tightness. quote:
The best medicine in my opinion to get the groove and spontaneity in your compas is, to play for dance. Yes excellent advice. This is the equivalant for flamenco players as the rudiments for drummers I talked about before. You get the flamenco specific "rudiments". Make sure that you work with GOOD dancers that have tempo and are not just making you learn and support their coreography. You should not have to be adjusting your tempo CONSTANTLY, which is what I find with some dancers that are not so advanced. But deliberately moving the tempo or changing gears, does happen alot in dance accomp. But don't fall into the trap that you don't need the metronome because you work with dancers and the moving tempo is important. People that understand how to hold the tempo understand subdivision too (whether intuitively or not) and it is the subdivision that holds things together when you speed up for example. The dancer often uses contras to speed up the tempo and the guitarist must not loose the base and speed up too. It is a big challenge at first because the dancers controls the time with the subdivision, not with the beat, and the guitarist has to keep it tight. There are different ways to build up, but I find with the contras specifically, the folks who have steady tempo generally (be it palmas guitar, dance, percussion), do a better job at keeping the build ups tight. Ricardo
|
|
|
|