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Posts: 15334
Joined: Dec. 14 2004
From: Washington DC
Ricardo Marlow Corey Whitehead Method
It has been a long time in the works. I mentioned it on foro in the past and it is finally out to the printers. A Mix of classical and flamenco. I am only contributing flamenco material that I believe is fundamental to work on for building a baseline technique and understanding of compás patterns and basic techniques.
RE: Ricardo Marlow Cory Whitehead Method (in reply to Ricardo)
I just bought it. It looks really excellent! I'm pleased it is notation only, tab has made me lazy, I need to be forced to read notation and learn the notes on the fretboard.
Posts: 15334
Joined: Dec. 14 2004
From: Washington DC
RE: Ricardo Marlow Cory Whitehead Method (in reply to silddx)
quote:
I'm pleased it is notation only, tab has made me lazy, I need to be forced to read notation and learn the notes
Yes our book gets people started with basic note reading that have no experience, going up eachstring for example. Then some easy pieces to get used to reading. However, I am aware this could be a turn off to many students. If it becomes a real problem I might have a solution in the future, since I have the tabs already for my examples.
Posts: 15334
Joined: Dec. 14 2004
From: Washington DC
RE: Ricardo Marlow Cory Whitehead Method (in reply to silddx)
Cool let me know any questions. (Cory wrote all the performance notes by the way. I went over them and realize I might have differing Opinion here and there and might say they are often not needed at all. For example, I realize some of the performance notes Are meant to tie in to our other book. Others are taken from his lessons with Manolo Sanlucar, and might tie in with his Pedagogy, which is unique. In many cases they help clarify, but I think The music and audio speaks for itself in most cases.)
RE: Ricardo Marlow Cory Whitehead Method (in reply to Ricardo)
quote:
Cool let me know any questions. (Cory wrote all the performance notes by the way. I went over them and realize I might have differing Opinion and might say they are often not needed at all. The music and audio speaks for itself in most cases.)
Brilliant, thank you!
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The early bird catches the worm. But the second mouse gets the cheese.
Posts: 15334
Joined: Dec. 14 2004
From: Washington DC
RE: Ricardo Marlow Cory Whitehead Method (in reply to Ricardo)
During the pandemic I was hired to do a masterclass on zoom a couple years ago. There was a pay wall but I came across it recently and it is free on YouTube. The class doesn’t really start until about 10 or 11 minutes in.
I realized it Turned into a big RASGUEADO tutorial, and as far as that goes, it might Help people that get this new book understand how to interpret the notation Of the rasgueados I present. For me as a teacher they are very specific and I would Hope that students focus a lot of time on them to get them right, at least for learning.
Eventually a student can use whatever patterns they enjoy best, as I explain at certain Points, in my journey of learning I realized later in life that I was missing out a lot of Nuance by avoiding certain rasgueados that I now very much prefer. For example Pai abanico vs Marote and a big etc. So I went through and time stamped the video in The comments.
RE: Ricardo Marlow Cory Whitehead Method (in reply to Ricardo)
quote:
Turned into a big RASGUEADO tutorial
Thanks for that, always good to go back to working on the basics. Good AMI rasgueado practice drill por solea throwing in the 5,7,9 stroke variations as one feels in the moment.
Hope this is not too off topic, but it reminded me of another good practice drill for IAI in various subdivisions por solea.
RE: Ricardo Marlow Cory Whitehead Method (in reply to Ricardo)
Hello Ricardo. I have a question if I may. I’m working on the Pic1/T1 Alegrias Silencio on page 68.
In the first chord of the bar (19 shown as an example) I should play the open low E p apoyando and landing on the A string ready to play the Am diad in bar 20.
My question is how do I silence the open low E string from sounding longer than the specified quarter note please?
Also, what is the half note rest doing there on C? Does it relate to silencing the E?
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Posts: 15334
Joined: Dec. 14 2004
From: Washington DC
RE: Ricardo Marlow Cory Whitehead Method (in reply to silddx)
One of the notation conventions guitarists use is two layers, up stem and down stem usually. Sometimes that becomes too wide if the notes are high above a low bass. This double layer in a single staff came about to avoid the use of two staves like in piano music, since we guitarists have to do it all with one hand. So the “half note rest” is not assigned to a note, but the lower layer or bass line (it is not a line, only one note but if there were other notes in the bass you would see different rhythm below than above).
So that explains the rest. But the stopping of the open string or open bass note, is really a personal choice. Since the guitar decays so quick, and the silencio is a slow tempo theme, you can just let it ring if you wish. In reality, most of us will replace the thumb after it plays while playing the picado, by moving the thumb back up to 6th string. That is essentially what I am doing. But it is also sometimes done simply by keeping the finger on the 5th string, and touching the 6th above with the part of your thumb bellow the joint, above the nail bed (touching with the nail would make a noise so be careful).
So the main thing with this is to get your i and m picado together, and don’t worry about the bass note until you have it pretty secure. Then you can use your own taste for the 3 options, 1. Let it ring out, 2. Stop with Thumb resting on 6 (that is what I do), or 3. Stop with thumb touch while resting on 5. Take your pick. Keep in mind when I prepare to play the next A bass note, I move the thumb to position starting on the last 2 or 3 notes of the previous line. It is eventually advantageous to be able to move the thumb to different strings while playing a melody above apoyando.
RE: Ricardo Marlow Cory Whitehead Method (in reply to Ricardo)
Super helpful as always, Ricardo, thank you! I had no idea about the rest thing.
I actually was damping with the edge of my thumb during this morning's practice. But definitely see the advantages of switching strings with the thumb during melody so I'll work on that.
Thanks again, N
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The early bird catches the worm. But the second mouse gets the cheese.
RE: Ricardo Marlow Cory Whitehead Method (in reply to Ricardo)
quote:
ORIGINAL: Ricardo
It has been a long time in the works. I mentioned it on foro in the past and it is finally out to the printers. A Mix of classical and flamenco. I am only contributing flamenco material that I believe is fundamental to work on for building a baseline technique and understanding of compás patterns and basic techniques.
Next time I have a little sales I’m going to buy your book. Six month ago I bought the three volumes of the updated Aaron Shearer classical method. It’s really good! And they have a site online where you can access notes, video and mp3 recordings of a substantial portion of the books. I’m using them to brush up on stuff.
RE: Ricardo Marlow Cory Whitehead Method (in reply to kitarist)
I just checked Amazon Canada and it's still listed as pre-order for the print edition (and the kindle is only a couple of bucks less). I suspect that would change pretty quickly once an order is placed as they might just be waiting for one to justify bringing in a box of them. I'll probably take the plunge later today, so we'll find out soon enough.
RE: Ricardo Marlow Cory Whitehead Method (in reply to RobF)
I bought the pdf from MelBay directly, so no shipping charges. I understand that it would a bit more for the printed edition because of shipping to Canada. So therefore waiting on Amazon.ca seems the best way to go about it.
Posts: 15334
Joined: Dec. 14 2004
From: Washington DC
RE: Ricardo Marlow Cory Whitehead Method (in reply to Ricardo)
So the vol. 2 is now available. Again, in terms of Flamenco, the Formative Works book is the building blocks, and this Vol2. is demonstrating how to put those building blocks to good use. If you are the type of student that already understands how to do that, or wants to do that on your own, the Formative Works book is more important. Also, if you know how to "extract" falsetas and compás patterns and techniques that help you from a composition or performance arrangement, then you could in theory derive the Formative works building blocks from THIS book. It is just that Formative works is designed for graduating difficulty level.
In addition, the arrangements have cante accompaniment sections, where a one-off example of the chordal accompaniment appears in the middle of the score, bookended by falsetas and compás. (this was not easy for me to record without an actual singer there as it is based on the notation). Obviously this is functioning as a guide rather then a set in stone composition. The hope is that students develop their own way to do it in the long run, using our versions as a road map.
There is more general guitar stuff, like typical scales and chords etc., to complete the method. The classical material is less rudimentary (for developing note reading skill etc.),and more designed to connect certain Spanish Classical pieces to the flamenco forms. Corey has chosen these, again my contribution is the flamenco stuff. I did have to "learn" his arrangement of certain sections of the flamenco forms, for the recordings.
RE: Ricardo Marlow Cory Whitehead Method (in reply to Ricardo)
Thanks Ricardo, just ordered this book too.
The first book, I am working through the pieces in the Flamenco half of the book sequentially, is that how it is intended to be used? Note I have not studied any of the classical half, yet, I may do after I have covered the Flamenco half (which will take quite some time).
_____________________________
The early bird catches the worm. But the second mouse gets the cheese.
Posts: 15334
Joined: Dec. 14 2004
From: Washington DC
RE: Ricardo Marlow Corey Whitehead M... (in reply to silddx)
quote:
book sequentially, is that how it is intended to be used?
Yes exactly. I had wanted Corey's Farruca Trémolo to occur as "T3" in chapter 3, after the Soleá, but other than that, it is all in order. The idea is to master the rasgueado and other techniques in order. Of course, if the student can already do most of those they are free to jump around to use whatever they need from the book.
The first part, the classical section, is to develop sight reading skills. Obviously Flamenco guitar is very hard to read without tablature, especially rasgueado that is using relatively fast diminution (subdivisions of 64th notes for example in Siguiriyas). The audio obviously clarifies the intentions. But the idea is for people not used to reading standard notation to get used to fingerings, positions, key signatures, etc., in graduating order of difficulty.
Printable Version
Thank you!
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