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Posts: 15469
Joined: Dec. 14 2004
From: Washington DC
RE: My Flamenco progression Log (in reply to orsonw)
quote:
ORIGINAL: orsonw
quote:
This book is very useful, my tutor recommended it.
Thanks for the recommendation.
This video discusses practice repetition principles informed by recent skill acquisition research. (Links to research are in the video description.)
Interesting. I remember giving him lessons in Chicago many many years ago, maybe he visited foro in the past? Anyway, the issue with repetition thing is you have to first define what the heck “correct” and “incorrect” actually means. Like you get correct the note, fret, finger, timing, dead on, but if it comes out too loud or soft and bothers you, then you have to do it again. next time you might get the right dynamic but fretted it badly. Next time you get the fretting and dynamic, but the timing is a bit off. ETC.
If you guys remember the tomatito in 8 minutes video I always post regarding “chunking” a falseta and keep adding at medium groove tempo until you can move on, I am literally dialing in all of that each repetition. You can’t really count how many times when you are doing it in the moment dialing all that in, so the best is just keep doing it until you sort of have it to your personal liking. And that might be different than it needs to be to be really good, so a mentor or teacher or friend that is better than you is great to have to tell you. Like when I recorded at ToddK’s house, I took his opinion very strongly. For example I might have done something as good as I could and if he says I could do better, then I go again. Conversely if some little detail like the above bothers me I ask him if he has an issue and if he says “no” then I let it lie.
Anybody just playing in their room might either be too hard on himself, or think he sounds like PDL when actually he sounds like drunk Ottmar. So feedback is important. In the end, I do the repeat groove thing until it feels like I can do it and not mess it up on stage. Then I if I go out on stage and mess it up, oh well, I don’t’ let it get me down I just drill it some more. The rep strain injury thing is mainly about a psychological issue, fear, stress, tension etc. None of that is good even if you don’t get an injury. I remember once feel it come on just after reading about other peoples problems with it. Extremely psychological IMO.
RE: My Flamenco progression Log (in reply to Manitas de Lata)
need to study some songs to improve and to have something to play from start to finish, prefer a solea but im open to anything , just something easy to play and to find on the internet (the song and the video tutorial). Want to start building a reportoire , to practice and to play
Posts: 15469
Joined: Dec. 14 2004
From: Washington DC
RE: My Flamenco progression Log (in reply to Manitas de Lata)
quote:
ORIGINAL: Manitas de Lata
need to study some songs to improve and to have something to play from start to finish, prefer a solea but im open to anything , just something easy to play and to find on the internet (the song and the video tutorial). Want to start building a reportoire , to practice and to play
thanks
Well, that is not how flamenco works, the forms are “open ended”. The book I just came out with has the small parts that one needs to develop, and then as you advance you draw from the material and you link them together as appropriate in the moment. Therefore, based on what you have now, why does it not “come together” for you? Do you not have enough compás patterns that are varied to link together your falsetas (Chicuelo and tomatito at this point) to make a 2-3 minute solo? Then go learn a few more until you have a 3 minute “Piece” then arrange them in a specific order if you must, so you don’t forget the order. Do the same for each palo that you have down at this point. (Should only be doing the core, Solea, buleria, Tango, Siguiriya, Alegria). If you need more falsetas for Alegria say, then go find one you can handle and toss it in the mix.
That is how it is done. I try to get students to avoid the “trap” of the old guitar methods that force watered down “pieces” such that it is always a-z, with the “lmnop” section being wishy washy, and they later have to unlearn all that practice to get the right concept. But I get it. So assuming folks get the concept of this first book I put out (Formative Works, it is called), we have the second book on the way (Vol.2 of the series, the vol.1 penned by Juan Serrano and mr. Whitehead), should be available in a few weeks. What that does is lay out the small bits and exercises etc, and gives a structured “Piece” of these elements arranged by us, to use as a singular model or basis for what YOU guys should develop on your OWN.
Dancers have this same problem. They do a class in spain, come home with a complete choreography, but no clue how it was constructed based on the small parts, and then can neither understand how to isolate and smooth out sections that are not executed correctly, adapt what they learned to other cante/guitar variations that were slightly different than that heard in class, nor CREATE their own choreography based on the elements that their teacher used to create the “model”. This means they didn’t learn a damn thing about flamenco, just a “routine” that they must adhere to or they are completely lost.
So don’t go for the “easy thing” to play, just learn the authentic and correct material and start linking it all together on your own.
RE: My Flamenco progression Log (in reply to Ricardo)
yes thats the idea for the solea for example , still have to work the llamada , cierre, escobilla etc but need more falsetas , thats the main issue , i think that would be "easier " to found some work done in a track to pratice/copy/inspire the falsetas and progression. I know some basic ones and i dont do it the exact way (know to do it , but i personalize).
thats the suggestion that i was looking for , more falsetas , easy ones , cant do pacos and similar stuff
RE: My Flamenco progression Log (in reply to silddx)
thanks for sharing , i think it makes more sense to higher level rather than me , i lack falsetas but im playing with the very few i know and i do a twist to them
RE: My Flamenco progression Log (in reply to Ricardo)
my Samsung does have few years , regarding audio , photo and video isnt great.... well for photo or video if close distance its only decent... audio its crap.
i prefer to give my poor playing with nice or decent quality
RE: My Flamenco progression Log (in reply to Manitas de Lata)
Amigo, the video and phone recording tells no lies ;)
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I prefer my flamenco guitar spicy, doesn't have to be fast, should have some meat on the bones, can be raw or well done, as long as it doesn't sound like it's turning green on an elevator floor.
RE: My Flamenco progression Log (in reply to ernandez R)
didnt understood , someone lied? whats the point?
i allready told many times , i play like crap and the recording sounds even worse, imagine the first recordings of guitar that history knows , now imagine worse than that.
Im searching for a recording solution that fits my pocket money.