Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
RE: **CANTE CHALLENGE ENTRIES**
|
You are logged in as Guest
|
Users viewing this topic: none
|
|
Login | |
|
Anders Eliasson
Posts: 5780
Joined: Oct. 18 2006
|
RE: **CANTE CHALLENGE ENTRIES** (in reply to duende)
|
|
|
Florian i dont know if you are interested in thoughts? but here they are. There were a lot of good moments in your entry, and I agree, the chords.... they need to be right. On the other hand IMHO, you push to much. I like your rasgueados and your picado ideas, but not the way you performed them. IMO they need to be a lot quieter and in level with the singing. A lot more subtle If you play with a good singer, one who is used to play with good cante guitarists, (and it doesnt matter if they are spanish , danish or from from timbuktu) they´ll tell you to cool down and not interfere with their singing. I know it, I´ve been there, I´ve been told. In fact, right now my own playing with singers is to conservative for my own taste, but I feel I learn a lot more playing like that. So, IMO, a lot of good ideas, but you should adjust them to the singers performance. While they are singing they are the important ones. Thats flamenco.
_____________________________
Blog: http://news-from-the-workshop.blogspot.com/
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 13 2009 1:53:41
|
|
NormanKliman
Posts: 1143
Joined: Sep. 1 2007
|
RE: **CANTE CHALLENGE ENTRIES** (in reply to Florian)
|
|
|
quote:
please let me know if this question is disrespectful or rude or somewhat rebelious No way... You've got every right to ask for explanations. My criticism was based on my preferences, and I think I'm a very harsh judge in that sense. For example, what I said about Perca-Anders (and others) anticipating the rhythm amounts to an extremely small amount of time, a fraction of a second, but I've heard that kind of thing many times and am sensitive to it. So, when I listen to anyone accompany, there are lots of "mistakes" that I don't mind hearing, but overshadowing the singer ruins it for me. That doesn't necessarily have anything to do with modern vs. old, because guitarists have been overshadowing singers for a long time (for example, Ramón Montoya's accompaniment of Aurelio or Mojama in 1929). Good guitarists are always looking for "clever solutions," and it's not something that Paco de Lucía started doing. As a guitarist I like clever ideas, but as a cante enthusiast I'm very tired of hearing them happen during the singing. Cante is more than just the voice and the guitar, because there's a third element, which is the verse. When I'm listening to cante (not accompanying), I pay much more attention to the guitar and voice, but I know Spaniards who focus on the letra more than anything else. It's logical, because most people don't have technical knowledge about melody, harmony or rhythm but they can understand the story being told. For these people, the technical aspects of music are in the background, and it's the other way around for people who are more interested in the technical aspects of the music (for whatever reason). quote:
...i see it as something you do togheder Me too, but we define "together" differently. Looks like we spell it differently, too. JUST KIDDING! The problem for me were the big rasgueados during the singing. Using the terms mentioned in my post, the things that I didn't like were "projection and juxtaposition" and "empathic dynamics (flowing with singer)." Projection: Those rasgueados were too loud. Juxtaposition: They shouldn't have happened at the same time as the singing or should have been MUCH softer. Empathic dynamics: Notice that the word I've chosen is "empathic" and not "emphatic." According to the Oxford Advanced Learner's Dictionary, empathy means "the ability to share someone else's feelings or experiences by imagining what it would be like to be in their situation." The big rasgueados were imitating what Félix was doing, and that's fine for a side-by-side presentation of guitar and voice, but I greatly prefer to hear the guitar under the voice. But I think some people prefer to hear guitar and voice on equal terms, and that's why I said that your accompaniment might go over very well in some parts of Spain. The picado wasn't bad (technique could have been a bit cleaner, but that's not so important), but after hearing the big rasgueado, I was not looking forward to hearing another "big guitar moment." If it helps, you should know that I don't like 80 to 90 percent of the accompaniment that I hear nowadays, so maybe it could be said that I'm not a fair judge. And in all honesty, I liked a lot of what you did, and the things I didn't like weren't nearly as bad as, say, the overuse of major seventh chords, which is something that I absolutely hate. But I prefer the approach of Melchor and Juan Carmona (there are modern players, too) for reasons that I've already mentioned. Aire is hard to develop because its main ingredient is the passing of time. You can't really "put your finger on it," so to speak.
_____________________________
Be here now.
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 13 2009 3:43:28
|
|
New Messages |
No New Messages |
Hot Topic w/ New Messages |
Hot Topic w/o New Messages |
Locked w/ New Messages |
Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
0.09375 secs.
|