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hey maaaaaan hats off to you gabe, you have some serious r/hand stamina dude. ive been looking at just the start and so far i get the impression this peice is all about r/hand stamina. It really takes it out of the r/hand, its great just as an excercise to build stamina. If you can make it all the way thru your doing pretty bloody good the notes themselves arent crazy hard or anything, its fairly relentless though and this is the demanding bit.
hey i watched segovias version and sorry, but i gotta say ,thru the first section he was really hacking at it, i didnt like his interpretation at all. It wasnt fluid and it was very stop start in some trasitions and not smooth at all. heres the link, tell me what you reckon. He did do the quieter sections very,very nice tho.
My favorite version is from John Williams, it's the way I've always tried to interpret it. I like it best played mostly freestroke (in the middle I play apoyando during some expressive parts).
I don't like any version where the rasgueados are replaced by a weak thumb stroke, takes ALL the energy out IMO.
Listen to the acoustics I got in this hall with the rasgueados: Asturias intro
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wow you play it good john, i wanna hear your full version!
quote:
I don't like any version where the rasgueados are replaced by a weak thumb stroke
yeah, and thats not easy to do smoothly (the rasgueados).
I thought the castanets worked well in that, (i generally hate castanets) although i think after that first section where it goes quiet the castanets should drop right out because they cover up the beautiful melodies with a horrible clacking sound. I could see what she was trying to do tho, add an ambient effect. But theres nothing ambient about castanets, its at this point you pass her the sand shaker The castanets work well with the main theme.
I prefer your version to segovia, it runs through the main theme smoothly and rythmically even,unlike segovia version. But he is pretty old in this particular clip its amazing he can preform that peice at all at that age. (its easy to be a critic when you dont play the peice )
No kidding, respect to him. Not to mention at that time the classical guitar wasn't as developed, in his day Segovia really was the true master.
I've done the full version a couple of times but it's really really tough to get that middle part well in sync with the castanets, also as you wrote without the castanets getting in the way, and I haven't done a performance I felt comfortable posting yet.
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Don't sweat the petty things and don't pet the sweaty things
but it's really really tough to get that middle part well in sync with the castanets
you should just lose the castanets altogether, but the dnacers probably think theyre great so its understandable if you didnt wanna say to them 'hey would you stop with the clacking already, youre ruinin the music. this took me years to learn !' lol
'hey would you stop with the clacking already, youre ruinin the music. this took me years to learn !' lol
I do a bit of clacking myself, but I'd have to say I agree. Castanets are often not played well or cleanly and then they are just a distraction. But non-flamenco audiences like them as a prop - if you do a show with one dance with castanets, one with a fan (like guajiras) and another with a manton, they thing they've seen something.
In fact you could do the same dance three times just using different props and they probably wouldn't notice! No I'm being wicked, of course they would notice.
Very nice John - and a pretty good balance between guitar and castanuelas. Audience seemed appreciative too, though half way through I felt like saying to them, "Will you shut the **** up and listen you guys? You're missing something really good!"
Yeah, that kind of got to me too. The audience was mostly dancers (no offence ), many quite young. This year we had seating facing forward, two breaks in the show and mixed beginner/intermediate/advanced performances. Really helped a lot.
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Don't sweat the petty things and don't pet the sweaty things
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!' lol
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