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stretching the compas vs out of compas
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XXX
Posts: 4400
Joined: Apr. 14 2005
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RE: stretching the compas vs out of ... (in reply to HolyEvil)
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I also have thought about this... i came to the conclusion that stretchings are bigger and smaller accelerations. In Escobillas you always have speed ups, so it would be "densing". Only difference to speed ups in Solea etc is that it is very linear, homogenous. Stretching compas in Solea is more like a micro-speed up (or slow down) for me. It is countable, danceable, playable because the meter or beats are preserved. And that is also the difference to being out of compas, where usually beats are skipped or added. They disappear "miraculously" because the performer has lost the meter, or rhythmic feeling. About other palos... i dont know how to put it, but stretchings only fit some palos, like Solea etc they have a certain attitude to them. In Bulerias i want to see how a player acts against a constant beat, the groove. If there are too much different speeds, it kills the groove. IMO.
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REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 31 2010 13:10:27
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srshea
Posts: 833
Joined: Oct. 29 2006
From: Olympia, WA in the Great Pacific Northwest
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RE: stretching the compas vs out of ... (in reply to HolyEvil)
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I think the real bottom line issue is maintaining the right accents and projecting the proper feel of the toque. That, and control and intention. That’s what holds everything together and makes it “work”, whether playing at a steady tempo or stretching and playing with rubato. You could play a metronomically precise solea with all the right chord changes in all the right places, and all the usual melodic “stuff” that you expect to hear in a solea, all perfectly fit into a twelve beat cycle, but if you played it totally flat, without accents, and without the feel of solea, it wouldn’t really work, in the best possible sense. Definitely ain’t no one gonna wanna dance to it. Play the same solea, but with solid accents and a solea pulse that everyone can feel and follow, and then you can get away with stretching the tempo (within reason, and within the context of what you’re doing). I think it all boils down to whether it’s done with deliberate intention in a controlled manner, and if what’s being played has a palpable pulse and feel that can be followed.
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REPORT THIS POST AS INAPPROPRIATE |
Date Mar. 31 2010 15:53:00
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