Vibrato
Alain Reiher
re-discussed, and re-re-discussed. It is almost as if ... we are caught in a
circular vibrato of discussions ...
But this one ... the vibrato ... is a technique that needs to be revived ...
because it's dying ... it's disappearing ... and we, guitarits, should not
let this happen.
See Pujol's definition of the vibrato in his Escuela de la etc. page
89,le�on 113. (Also #228 in his book one). # 320 of page 90 is an important
reminder! (And, in case you read it in French, it's le mauvais go�t not
... la mauvais go�t).
Alain
Slogoin
> I rarely start a guitar thread as every subject has already been discussed,
> re-discussed, and re-re-discussed. It is almost as if ... we are caught in a
> circular vibrato of discussions ...
Not only are we doomed to endlessly repeat ourselves but we are also
doomed to repeatedly complain about repeating ourselves endlessly.
Alain Reiher
"Slogoin" <la...@deack.net> wrote in message
news:64be333a-30b9-4f2a...@u16g2000pru.googlegroups.com...
===========
Indeed an endless catch 22 ...
Che
Larry and Alain wrote to each other saying: http://tiny.cc/3MYwR
So... how do we modulate and control the speeds of different
vibratos? There are several little slight of hands or tricks.
You first____________________________________
Or you just want to whine?
Che'
Alain Reiher
"Che" <Comanc...@hotmail.com> wrote in message
news:f389c315-da63-4ce9...@o10g2000yqa.googlegroups.com...
Che'
=========
I have not talk to you in years Che! How are you?
On to the vibrato ... For one ... it's the most intinctive of all technique.
Pujol is quite clear in his explanation of its use and explains quite well
the relation of the vibrato to the lenght of string (less vibrato in the
higher register) and gives simple and to the point guidelines on how to
perform it. (Page 89 - 90 Volume III Escuela).
I posted a recording sample of Lagoya/Presti to exemplify what he stress in
# 320.
Alain
Che
> "Che" <Comanchetr...@hotmail.com> wrote in message
>
> news:f389c315-da63-4ce9...@o10g2000yqa.googlegroups.com...
> On Nov 1, 10:19 pm, "Alain Reiher" <rei...@telus.net> wrote:
>
>
>
>
>
> > "Slogoin" <la...@deack.net> wrote in message
>
> >news:64be333a-30b9-4f2a...@u16g2000pru.googlegroups.com...
> > On Nov 1, 2:42 pm, "Alain Reiher" <rei...@telus.net> wrote:
>
> > > I rarely start a guitar thread as every subject has already been
> > > discussed,
> > > re-discussed, and re-re-discussed. It is almost as if ... we are caught
> > > in
> > > a
> > > circular vibrato of discussions ...
>
> > Not only are we doomed to endlessly repeat ourselves but we are also
> > doomed to repeatedly complain about repeating ourselves endlessly.
> > ===========
> > Indeed an endless catch 22 ...
>
> Larry and Alain wrote to each other saying:http://tiny.cc/3MYwR
>
> So... how do we modulate and control the speeds of different
> vibratos? There are several little slight of hands or tricks.
> You first____________________________________
>
> Or you just want to whine?
>
> Che'
> =========
>
> I have not talk to you in years Che! How are you?<
Naughty!
>
> On to the vibrato ... For one ... it's the most intinctive of all technique.
> Pujol is quite clear in his explanation of its use and explains quite well
> the relation of the vibrato to the lenght of string (less vibrato in the
> higher register) and gives simple and to the point guidelines on how to
> perform it. (Page 89 - 90 Volume III Escuela).
> I posted a recording sample of Lagoya/Presti to exemplify what he stress in
> # 320.
>
> Alain-
You may recall I first studied with Nato Lima in NY City. He had a
little vibrato:
Listen to: Maria Elena Pajaro Campaña In fact I sent out a very
unique copy of Pajaro Campana only last week to some regulars on
RMCG. In fact I sent of some stuff with regard to Bicho Feo so folks
can watch from the background. Here's a little triffle on vibrato.
http://www.youtube.com/watch?v=tdYF5gZckmk
Che' of the Little Flowers
dsi1
>
> You may recall I first studied with Nato Lima in NY City. He had a
> little vibrato:
>
> unique copy of Pajaro Campana only last week to some regulars on
> RMCG. In fact I sent of some stuff with regard to Bicho Feo so folks
> can watch from the background. Here's a little triffle on vibrato.
>
> http://www.youtube.com/watch?v=tdYF5gZckmk
>
> Che' of the Little Flowers
>
As usual, Mr. Lima can make me emotional with a single note. Please send
me any info on non-squeak techniques if you can. My idea is that one
should move the hand as a wolf spider does but I would like to know your
ideas.
Che
> Che wrote:
>
> > You may recall I first studied with Nato Lima in NY City. He had a
> > little vibrato:
>
> > unique copy of Pajaro Campana only last week to some regulars on
> > RMCG. In fact I sent of some stuff with regard to Bicho Feo so folks
> > can watch from the background. Here's a little triffle on vibrato.
>
> >http://www.youtube.com/watch?v=tdYF5gZckmk
>
> > Che' of the Little Flowers
>
> As usual, Mr. Lima can make me emotional with a single note. Please send
> me any info on non-squeak techniques if you can. My idea is that one
> should move the hand as a wolf spider does but I would like to know your
> ideas.
Sorry, this is Proprietary Information ( PI ) sensitive information
( SI ) that is owned by lawful guitarist which gives them competitive
advantage.
Thank you for asking
Have a Good Day
dsi1
> On Nov 3, 4:26 pm, dsi1 <d...@humuhumunukunukuapuapa.org> wrote:
>> Che wrote:
>>
>>> You may recall I first studied with Nato Lima in NY City. He had a
>>> little vibrato:
>>> unique copy of Pajaro Campana only last week to some regulars on
>>> RMCG. In fact I sent of some stuff with regard to Bicho Feo so folks
>>> can watch from the background. Here's a little triffle on vibrato.
>>> http://www.youtube.com/watch?v=tdYF5gZckmk
>>> Che' of the Little Flowers
>> As usual, Mr. Lima can make me emotional with a single note. Please send
>> me any info on non-squeak techniques if you can. My idea is that one
>> should move the hand as a wolf spider does but I would like to know your
>> ideas.
>
> Sorry, this is Proprietary Information ( PI ) sensitive information
> ( SI ) that is owned by lawful guitarist which gives them competitive
> advantage.
>
> Thank you for asking
> Have a Good Day
Aye Carumba! :-)
Che
> Che wrote:
> > On Nov 3, 4:26 pm, dsi1 <d...@humuhumunukunukuapuapa.org> wrote:
> >> Che wrote:
>
> >>> You may recall I first studied with Nato Lima in NY City. He had a
> >>> little vibrato:
> >>> unique copy of Pajaro Campana only last week to some regulars on
> >>> RMCG. In fact I sent of some stuff with regard to Bicho Feo so folks
> >>> can watch from the background. Here's a little triffle on vibrato.
> >>>http://www.youtube.com/watch?v=tdYF5gZckmk
> >>> Che' of the Little Flowers
> >> As usual, Mr. Lima can make me emotional with a single note. Please send
> >> me any info on non-squeak techniques if you can. My idea is that one
> >> should move the hand as a wolf spider does but I would like to know your
> >> ideas.
>
> > Sorry, this is Proprietary Information ( PI ) sensitive information
> > ( SI ) that is owned by lawful guitarist which gives them competitive
> > advantage.
>
> > Thank you for asking
> > Have a Good Day
>
> Aye Carumba!
Yep, I spent a while in Carumba. Drove through the watery waste land,
north, from Asuncion.
John Nguyen
>
> > You may recall I first studied with Nato Lima in NY City. He had a
> > little vibrato:
>
> > unique copy of Pajaro Campana only last week to some regulars on
> > RMCG. In fact I sent of some stuff with regard to Bicho Feo so folks
> > can watch from the background. Here's a little triffle on vibrato.
>
> >http://www.youtube.com/watch?v=tdYF5gZckmk
>
> > Che' of the Little Flowers
>
> As usual, Mr. Lima can make me emotional with a single note. Please send
> me any info on non-squeak techniques if you can. My idea is that one
> should move the hand as a wolf spider does but I would like to know your
> ideas.
The secret is in the RH to eliminate the LH noise, I kid you not. I
got the tip from the man himself (not Mr. Lima!).
Cheers,
John
Che
You know, The Man.
dsi1
>
> The secret is in the RH to eliminate the LH noise, I kid you not. I
> got the tip from the man himself (not Mr. Lima!).
> Cheers,
>
> John
Uh oh - you done it now - spilled the beans! :-)
David Raleigh Arnold
> I rarely start a guitar thread as every subject has already been
> discussed, re-discussed, and re-re-discussed. It is almost as if ... we
> are caught in a circular vibrato of discussions ...
> But this one ... the vibrato ... is a technique that needs to be revived
> ... because it's dying ... it's disappearing ... and we, guitarits,
> should not let this happen.
> See Pujol's definition of the vibrato in his Escuela de la etc. page
> 89,leçon 113. (Also #228 in his book one). # 320 of page 90 is an
> important reminder! (And, in case you read it in French, it's le
> mauvais goût not ... la mauvais goût).
>
> Alain
Pujol has never impressed me very much.
Vibrato is personal and cultural. I recommend that students practice
putting vibrato on the ends of notes and not at the beginnings, the
way pop/jazz singers do, for all instruments capable of vibrato. This
ensures that the vibrato is always a conscious act and does not degrade
into a nervous habit. I have been recommending that for ages,
and recently I was surprised to learn that it has been recommended
by some ever since, at least, the Baroque! It's one of those eternal
good ideas. Regards, daveA
--
For beginners: very easy guitar music, solos, duets, exercises. Early
intermediate guitar solos. One best scale set for all guitarists.
http://www.openguitar.com/scalescomparison.html ::: plus new and
better chord and arpeggio exercises. http://www.openguitar.com
David Raleigh Arnold
> On Sun, 01 Nov 2009 22:42:01 +0000, Alain Reiher wrote:
>
>> I rarely start a guitar thread as every subject has already been
>> discussed, re-discussed, and re-re-discussed. It is almost as if ... we
>> are caught in a circular vibrato of discussions ... But this one ...
>> the vibrato ... is a technique that needs to be revived ... because
>> it's dying ... it's disappearing ... and we, guitarits, should not let
>> this happen.
>> See Pujol's definition of the vibrato in his Escuela de la etc. page
>> 89,leçon 113. (Also #228 in his book one). # 320 of page 90 is an
>> important reminder! (And, in case you read it in French, it's le
>> mauvais goût not ... la mauvais goût).
>>
>> Alain
>
> Pujol has never impressed me very much.
That statement was injudicious.
He did a terrible hack job on what he called Milan Pavan #1, but
I have never investigated his original work at all.
Tommy Grand
> Pujol has never impressed me very much.
I'm sure the feeling is mutual!!
Tommy Grand
> That statement was injudicious.
>
> He did a terrible hack job on what he called Milan Pavan #1
Dave, don't you agree that Orson Welles made the best Shakespeare
films? Why is it that in theater it is taken for granted that you can
set Hamlet in a brothel, but a little rubato added to Milan is
considered a false performance? Exact replicas are boring!
David Raleigh Arnold
I'm referring to his published version, in which he rewrote
Milan's notes in a way that is totally wrongheaded. I won't
even grant that it's a matter of opinion. I hate buying sheet
music and then finding out that it's bad. That was my first and
only impression of him, and I have no qualms about badmouthing
him for that, but I should not have made any general condemnation.
It was unfair and injudicious. As a performer and teacher,
he must have had something going for him, but I never heard him,
with or without rubato. Regards, daveA
Tommy Grand
> On Wed, 11 Nov 2009 11:35:18 -0800, Tommy Grand wrote:
> > On Nov 11, 2:27 pm, David Raleigh Arnold <d...@openguitar.com> wrote:
>
> >> That statement was injudicious.
>
> >> He did a terrible hack job on what he called Milan Pavan #1
>
> > Dave, don't you agree that Orson Welles made the best Shakespeare films?
> > Why is it that in theater it is taken for granted that you can set
> > Hamlet in a brothel, but a little rubato added to Milan is considered a
> > false performance? Exact replicas are boring!
>
> I'm referring to his published version, in which he rewrote
> Milan's notes in a way that is totally wrongheaded. I won't
> even grant that it's a matter of opinion. I hate buying sheet
> music and then finding out that it's bad. That was my first and
> only impression of him, and I have no qualms about badmouthing
> him for that, but I should not have made any general condemnation.
> It was unfair and injudicious. As a performer and teacher,
> he must have had something going for him, but I never heard him,
> with or without rubato. Regards, daveA
Here, now you can let us know what you think!! http://www.youtube.com/watch?v=V9zNZIQV0EY
David Raleigh Arnold
No, I do not accept a role as performance critic. It's none of my
business as long as it's not something truly egregious, and only
then if there is some useful point to be made at the time.
See AG's latest comments. That's exactly what I mean.