mark indigo -> RE: Learning to play music (Sep. 2 2008 11:33:13)
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I know this has been well answered to already, but here's some more! quote:
Practise everything with strictly correct technique with technique, to me it's not a matter of "correct", but "does it work" 9 times out of 10 (if not more) the so-called "correct" technique is the one that works for the majority of people, ie. it's the most ergonomic, energy-efficient, minimum movement, etc. etc. way of getting the result you want didn't Manolo Sanlucar say something like "without technique you can't play anything"? quote:
Practise everything ..... to a metronome Practically every musician I have ever encountered has recommended practising with a metronome.... and none whatsoever so far in my experience have recommended NOT using one.... a flamenco teacher also told me to learn to tap compás with my foot, with the metronome, while playing. In fact I think he told me I had to "become a human metronome"! quote:
Practise everything ..... with no dynamics Ever heard a classical player play their "bit of flamenco" they learned from the yawn martin book? (apologies to any classical players who play flamenco properly, I'm not trying to have a dig at classical players generally, I'm sure flamenco players who play the odd classical piece with flamenco technique are equally tiresome....) That's right, they whisper that thumb falseta based around a 1st position F chord with pulgar TIRANDO, and then they thrash hell out of the F/C/F/E chord progression at full volume, 'cos that's what flamenco's all about, isn't it? NO! NO! NO! Anyway, after my little rant, the point is, it's actually quite a skill IMO to get the dynamics EVEN, ie. if you can get picado, arpegio, tremelo, pulgar, alzapua and the various rasgeo's all to sound with a more or less even dynamic relative to each other, THEN you can start to play with it..... quote:
No feeling to it. I know you go on to explain that you're talking about Seguiriyas and Tientos, but seriously, I don't think "correct" technique and metronomic compas are going to mitigate against feeling.... they might even give you the ability to express more of it.... I think that a lot of expressiveness and feeling comes not by stretching the compas (although siguiriyas can obviously be quite elastic), but by playing around within it - even in tientos the elastic feel can often come from the swing within the rhythm, not from the beat speeding up or slowing down. I think it is way more important in flamenco, certainly with anything á compás, to play with strong rhythm before other considerations like tone or dynamics etc., and also that it is much, much easier to relax a strict compas than to tighten up a sloppy compas (aren't you also a dancer? Think dance accompaniment!). enjoy! [:D] mark
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