> > On Monday, September 17, 2012 9:01:48 AM UTC-7, Murdick wrote:
> > > On Sunday, September 16, 2012 10:08:42 PM UTC-5, JPD wrote:
> > > > On Sunday, September 16, 2012 5:36:02 PM UTC-7, Murdick wrote:
> > > > > Ahh, the joys of basic research.
> > > > I've been doing some basic research on i-m alternation with a cool camera that captures 1,000 frames per second. Not very expensive, either, for such a video camera. Got it new from Japan through eBay.
> > > > What I'm watching in particular are the differences between i and m. My m is fantastic. I'm trying to get it to teach my i. But they are very different fingers. In particular, i at rest is much more extended than m at rest. In Arpeggios, I think my i would be happier playing one string higher than m, rather than lower, frankly.
> > > > The problem at the moment is that, compared with m, i has to flex several degrees tighter (away from midrange) in order to play the next-lower string in an arpeggio. In a fast, continuous arpeggio, this encourages i to accumulate tension. It has to do more flexing than m to hit the string, and it tends to want to *stay* flexed. Mine does, anyway. m is much more relaxed, doing all of its work cloer to midrange.
> > > > The same goes for i-m alternation on a single string. i hardly has time to return to midrange before it has to turn around and flex again. The only way to get it to relax all the way out to midrange is to greatly overshoot the string on return.
> > > > I'm guessing that when I was decades younger and a hot player, my i was conditioned to be more relaxed in a more flexed position. (Shearer's "prepared" position.) Nowadays, when my i returns to the prepared position, it's not relaxed at all. I have to extend it quite a bit farther to get to its relaxed midrange. So it's way out of position, or so it feels.
> > > > I was looking at some slo-mo video of an older Yamashita the other day. He was playing blazing fast i-m alternation, and I noticed he was really overshooting the return with i. Taking a BIG swing with i, compared with m. "Swinging from the heels," as they say in baseball. I wonder if that's something he developed as he got older.
> > > > Anyway, it's interesting fooling around with this slo-mo video cam. Basic research.
> > > Ok, you will be on my list of people to send a video to. It could be that a problem with 'm' affects 'i'. That is due to 'm''s lack of independence from 'i', tension builds and both fingers begin to lose coordination. Even though my 'i' has good independence 'm', as I speed up, the whole im complex tenses up and 'i' starts getting quirky.
> Cactus says, "Kent,
> please see this video, around 4:50 and then go back to your sax playing."
> A) he's playing folk music
Javier is playing a piece by Agustin Castellon Campos "Sabicas" a sophisticated composer, though probably technically illiterate in music. Sabicas claimed he did not read or write musical notation, though for someone of his talent, this was unnecessary to develop beautifully balanced compositions of several minutes length.
Javier has copped the piece off a recording, pretty accurately. The recording is just a snapshot of Sabicas's continually evolving compositions in this genre, known as soleá. There are a multitude of sub-genres of soleá. Sabicas was proficient in all of them as an accompanist of dancers, of singers, and as a soloist. This is not :folk music in the sense of simple stuff handed down over generations. It is a sophisticated composition by a master, but Sabicas never played a piece the same way twice. It was always evolving.
Javier, good as he is, doesn't convey the nuances of Sabicas's playing.
> B) he may (or may not) be tearing himself up.
Whether Javier is tearing himself up remains to be seen. His technique differs a bit from Sabicas, who remained a virtuoso player into his late seventies. Javier's i-m technique is a little more like Paco de Lucia's than Sabicas's. Paco is 65 and still smokin'.
> Now I will go back to my saxophone, which is getting better, BTW.Here's an
Here's another dose of flamenco from Grisha Goryachev, a graduate of the New England Conservatory and student of Eliot Fisk. But he was playing concerts with his father in Russia when he was 12, or maybe younger, already with that machine-gun i-m speed.
This is a piece by Paco de Lucia. It is more like jazz than Sabicas's through-composed stuff--a sequence of variations on a chord progression and metric pattern.
> > > On Monday, September 17, 2012 9:01:48 AM UTC-7, Murdick wrote:
> > > > On Sunday, September 16, 2012 10:08:42 PM UTC-5, JPD wrote:
> > > > > On Sunday, September 16, 2012 5:36:02 PM UTC-7, Murdick wrote:
> > > > > > Ahh, the joys of basic research.
> > > > > I've been doing some basic research on i-m alternation with a cool camera that captures 1,000 frames per second. Not very expensive, either, for such a video camera. Got it new from Japan through eBay.
> > > > > What I'm watching in particular are the differences between i and m. My m is fantastic. I'm trying to get it to teach my i. But they are very different fingers. In particular, i at rest is much more extended than m at rest. In Arpeggios, I think my i would be happier playing one string higher than m, rather than lower, frankly.
> > > > > The problem at the moment is that, compared with m, i has to flex several degrees tighter (away from midrange) in order to play the next-lower string in an arpeggio. In a fast, continuous arpeggio, this encourages i to accumulate tension. It has to do more flexing than m to hit the string, and it tends to want to *stay* flexed. Mine does, anyway. m is much more relaxed, doing all of its work cloer to midrange.
> > > > > The same goes for i-m alternation on a single string. i hardly has time to return to midrange before it has to turn around and flex again. The only way to get it to relax all the way out to midrange is to greatly overshoot the string on return.
> > > > > I'm guessing that when I was decades younger and a hot player, my i was conditioned to be more relaxed in a more flexed position. (Shearer's "prepared" position.) Nowadays, when my i returns to the prepared position, it's not relaxed at all. I have to extend it quite a bit farther to get to its relaxed midrange. So it's way out of position, or so it feels.
> > > > > I was looking at some slo-mo video of an older Yamashita the other day. He was playing blazing fast i-m alternation, and I noticed he was really overshooting the return with i. Taking a BIG swing with i, compared with m. "Swinging from the heels," as they say in baseball. I wonder if that's something he developed as he got older.
> > > > > Anyway, it's interesting fooling around with this slo-mo video cam. Basic research.
> > > > Ok, you will be on my list of people to send a video to. It could be that a problem with 'm' affects 'i'. That is due to 'm''s lack of independence from 'i', tension builds and both fingers begin to lose coordination. Even though my 'i' has good independence 'm', as I speed up, the whole im complex tenses up and 'i' starts getting quirky.
> > Cactus says, "Kent,
> > please see this video, around 4:50 and then go back to your sax playing."
> > A) he's playing folk music
> Javier is playing a piece by Agustin Castellon Campos "Sabicas" a sophisticated composer, though probably technically illiterate in music. Sabicas claimed he did not read or write musical notation, though for someone of his talent, this was unnecessary to develop beautifully balanced compositions of several minutes length.
> Javier has copped the piece off a recording, pretty accurately. The recording is just a snapshot of Sabicas's continually evolving compositions in this genre, known as soleá. There are a multitude of sub-genres of soleá. Sabicas was proficient in all of them as an accompanist of dancers, of singers, and as a soloist. This is not :folk music in the sense of simple stuff handed down over generations. It is a sophisticated composition by a master, but Sabicas never played a piece the same way twice. It was always evolving.
> Javier, good as he is, doesn't convey the nuances of Sabicas's playing.
> > B) he may (or may not) be tearing himself up.
> Whether Javier is tearing himself up remains to be seen. His technique differs a bit from Sabicas, who remained a virtuoso player into his late seventies. Javier's i-m technique is a little more like Paco de Lucia's than Sabicas's. Paco is 65 and still smokin'.
> > Now I will go back to my saxophone, which is getting better, BTW.Here's an
> Here's another dose of flamenco from Grisha Goryachev, a graduate of the New England Conservatory and student of Eliot Fisk. But he was playing concerts with his father in Russia when he was 12, or maybe younger, already with that machine-gun i-m speed.
> This is a piece by Paco de Lucia. It is more like jazz than Sabicas's through-composed stuff--a sequence of variations on a chord progression and metric pattern.
We saw Grisha at an Austin Classical Guitar Society concert at a private house Saturday night, with an audience of about 65. He and jeremy Mouffe played both flamenco and classical and brought the house down, with two standing ovations.
When we talked to Grisha afterwards he said he wasn't feeling particularly well. He had his doubts about the performance, but once he got into it he forgot about having the flu. Technically he was as good as the video, but for a live audience there was more expression and passion.
Somehow, I don't think your history lesson is going to change Kent's view of folk music.
Grisha mentioned on the flamenco forum that he couldn't quite get Conde's speed, but close! Interestingly, over there they had compared Conde's position to Grisha's (and Sabicas'), as opposed to Paco's.
> > > > On Monday, September 17, 2012 9:01:48 AM UTC-7, Murdick wrote:
> > > > > On Sunday, September 16, 2012 10:08:42 PM UTC-5, JPD wrote:
> > > > > > On Sunday, September 16, 2012 5:36:02 PM UTC-7, Murdick wrote:
> > > > > > > Ahh, the joys of basic research.
> > > > > > I've been doing some basic research on i-m alternation with a cool camera that captures 1,000 frames per second. Not very expensive, either, for such a video camera. Got it new from Japan through eBay.
> > > > > > What I'm watching in particular are the differences between i and m. My m is fantastic. I'm trying to get it to teach my i. But they are very different fingers. In particular, i at rest is much more extended than m at rest. In Arpeggios, I think my i would be happier playing one string higher than m, rather than lower, frankly.
> > > > > > The problem at the moment is that, compared with m, i has to flex several degrees tighter (away from midrange) in order to play the next-lower string in an arpeggio. In a fast, continuous arpeggio, this encourages i to accumulate tension. It has to do more flexing than m to hit the string, and it tends to want to *stay* flexed. Mine does, anyway. m is much more relaxed, doing all of its work cloer to midrange.
> > > > > > The same goes for i-m alternation on a single string. i hardly has time to return to midrange before it has to turn around and flex again. The only way to get it to relax all the way out to midrange is to greatly overshoot the string on return.
> > > > > > I'm guessing that when I was decades younger and a hot player, my i was conditioned to be more relaxed in a more flexed position. (Shearer's "prepared" position.) Nowadays, when my i returns to the prepared position, it's not relaxed at all. I have to extend it quite a bit farther to get to its relaxed midrange. So it's way out of position, or so it feels.
> > > > > > I was looking at some slo-mo video of an older Yamashita the other day. He was playing blazing fast i-m alternation, and I noticed he was really overshooting the return with i. Taking a BIG swing with i, compared with m. "Swinging from the heels," as they say in baseball. I wonder if that's something he developed as he got older.
> > > > > > Anyway, it's interesting fooling around with this slo-mo video cam. Basic research.
On Tuesday, September 18, 2012 1:20:09 PM UTC-5, Cactus Wren wrote:
> Somehow, I don't think your history lesson is going to change Kent's view of folk music.
> Grisha mentioned on the flamenco forum that he couldn't quite get Conde's speed, but close! Interestingly, over there they had compared Conde's position to Grisha's (and Sabicas'), as opposed to Paco's.
> On Tuesday, September 18, 2012 12:51:26 AM UTC-7, Richard Jernigan wrote:
> > On Tuesday, September 18, 2012 2:42:58 AM UTC-5, Richard Jernigan wrote:
> > > On Monday, September 17, 2012 3:02:23 PM UTC-5, Murdick wrote:
> > > > On Monday, September 17, 2012 12:54:46 PM UTC-5, Cactus Wren wrote:
> > > > > Kent,
> > > > > please see this video, around 4:50 and then go back to your sax playing.
> > > > > On Monday, September 17, 2012 9:01:48 AM UTC-7, Murdick wrote:
> > > > > > On Sunday, September 16, 2012 10:08:42 PM UTC-5, JPD wrote:
> > > > > > > On Sunday, September 16, 2012 5:36:02 PM UTC-7, Murdick wrote:
> > > > > > > > Ahh, the joys of basic research.
> > > > > > > I've been doing some basic research on i-m alternation with a cool camera that captures 1,000 frames per second. Not very expensive, either, for such a video camera. Got it new from Japan through eBay.
> > > > > > > What I'm watching in particular are the differences between i and m. My m is fantastic. I'm trying to get it to teach my i. But they are very different fingers. In particular, i at rest is much more extended than m at rest. In Arpeggios, I think my i would be happier playing one string higher than m, rather than lower, frankly.
> > > > > > > The problem at the moment is that, compared with m, i has to flex several degrees tighter (away from midrange) in order to play the next-lower string in an arpeggio. In a fast, continuous arpeggio, this encourages i to accumulate tension. It has to do more flexing than m to hit the string, and it tends to want to *stay* flexed. Mine does, anyway. m is much more relaxed, doing all of its work cloer to midrange.
> On Tuesday, September 18, 2012 1:20:09 PM UTC-5, Cactus Wren wrote:
> > Somehow, I don't think your history lesson is going to change Kent's view of folk music.
> > Grisha mentioned on the flamenco forum that he couldn't quite get Conde's speed, but close! Interestingly, over there they had compared Conde's position to Grisha's (and Sabicas'), as opposed to Paco's.
> > On Tuesday, September 18, 2012 12:51:26 AM UTC-7, Richard Jernigan wrote:
> > > On Tuesday, September 18, 2012 2:42:58 AM UTC-5, Richard Jernigan wrote:
> > > > On Monday, September 17, 2012 3:02:23 PM UTC-5, Murdick wrote:
> > > > > On Monday, September 17, 2012 12:54:46 PM UTC-5, Cactus Wren wrote:
> > > > > > Kent,
> > > > > > please see this video, around 4:50 and then go back to your sax playing.
> Le mercredi 19 septembre 2012 06:16:38 UTC-7, Murdick a écrit :
> > On Tuesday, September 18, 2012 1:20:09 PM UTC-5, Cactus Wren wrote:
> > > Somehow, I don't think your history lesson is going to change Kent's view of folk music.
> > > Grisha mentioned on the flamenco forum that he couldn't quite get Conde's speed, but close! Interestingly, over there they had compared Conde's position to Grisha's (and Sabicas'), as opposed to Paco's.
> > > On Tuesday, September 18, 2012 12:51:26 AM UTC-7, Richard Jernigan wrote:
> > > > On Tuesday, September 18, 2012 2:42:58 AM UTC-5, Richard Jernigan wrote:
> > > > > On Monday, September 17, 2012 3:02:23 PM UTC-5, Murdick wrote:
> > > > > > On Monday, September 17, 2012 12:54:46 PM UTC-5, Cactus Wren wrote:
> > > > > > > Kent,
> > > > > > > please see this video, around 4:50 and then go back to your sax playing.
> > > > > > > On Monday, September 17, 2012 9:01:48 AM UTC-7, Murdick wrote:
> > > > > > > > On Sunday, September 16, 2012 10:08:42 PM UTC-5, JPD wrote:
> > > > > > > > > On Sunday, September 16, 2012 5:36:02 PM UTC-7, Murdick wrote:
> > > > > > > > > > Ahh, the joys of basic research.
> > > > > > > > > I've been doing some basic research on i-m alternation with a cool camera that captures 1,000 frames per second. Not very expensive, either, for such a video camera. Got it new from Japan through eBay.
> > > > > > > > > What I'm watching in particular are the differences between i and m. My m is fantastic. I'm trying to get it to teach my i. But they are very different fingers. In particular, i at rest is much more extended than m at rest. In Arpeggios, I think my i would be happier playing one string higher than m, rather than lower, frankly.
> > > > > > > > > The problem at the moment is that, compared with m, i has to flex several degrees tighter (away from midrange) in order to play the next-lower string in an arpeggio. In a fast, continuous arpeggio, this encourages i to accumulate tension. It has to do more flexing than m to hit the string, and it tends to want to *stay* flexed. Mine does, anyway. m is much more relaxed, doing all of its work cloer to midrange.
> > > > > > > > > The same goes for i-m alternation on a single string. i hardly has time to return to midrange before it has to turn around and flex again. The only way to get it to relax all the way out to midrange is to greatly overshoot the string on return.
> > > > > > > > > I'm guessing that when I was decades younger and a hot player, my i was conditioned to be more relaxed in a more flexed position. (Shearer's "prepared" position.) Nowadays, when my i returns to the prepared position, it's not relaxed at all. I have to extend it quite a bit farther to get to its relaxed midrange. So it's way out of position, or so it feels.
> > > > > > > > > I was looking at some slo-mo video of an older Yamashita the other day. He was playing blazing fast i-m alternation, and I noticed he was really overshooting the return with i. Taking a BIG swing with i, compared with m. "Swinging from the heels," as they say in baseball. I wonder if that's something he developed as he got older.
> > > > > > > > > Anyway, it's interesting fooling around with this slo-mo video cam. Basic research.
> > > > > > > > Ok, you will be on my list of people to send a video to. It could be that a problem with 'm' affects 'i'. That is due to 'm''s lack of independence from 'i', tension builds and both fingers begin to lose coordination. Even though my 'i' has good independence 'm', as I speed up, the whole im complex tenses up and 'i' starts getting quirky.
> > > > > > Cactus says, "Kent,
> > > > > > please see this video, around 4:50 and then go back to your sax playing."
> > > > > > A) he's playing folk music
> > > > > Javier is playing a piece by Agustin Castellon Campos "Sabicas" a sophisticated composer, though probably technically illiterate in music. Sabicas claimed he did not read or write musical notation, though for someone of his talent, this was unnecessary to develop beautifully balanced compositions of several minutes length.
> > > > > Javier has copped the piece off a recording, pretty accurately. The recording is just a snapshot of Sabicas's continually evolving compositions in this genre, known as soleá. There are a multitude of sub-genres of soleá. Sabicas was proficient in all of them as an accompanist of dancers, of singers, and as a soloist. This is not :folk music in the sense of simple stuff handed down over generations. It is a sophisticated composition by a master, but Sabicas never played a piece the same way twice. It was always evolving.
> > > > > Javier, good as he is, doesn't convey the nuances of Sabicas's playing.
> > > > > > B) he may (or may not) be tearing himself up.
> > > > > Whether Javier is tearing himself up remains to be seen. His technique differs a bit from Sabicas, who remained a virtuoso player into his late seventies. Javier's i-m technique is a little more like Paco de Lucia's than Sabicas's. Paco is 65 and still smokin'.
> > > > > > Now I will go back to my saxophone, which is getting better, BTW.Here's an
> > > > > Here's another dose of flamenco from Grisha Goryachev, a graduate of the New England Conservatory and student of Eliot Fisk. But he was playing concerts with his father in Russia when he was 12, or maybe younger, already with that machine-gun i-m speed.
> > > > > This is a piece by Paco de Lucia. It is more like jazz than Sabicas's through-composed stuff--a sequence of variations on a chord progression and metric pattern.
> > > > We saw Grisha at an Austin Classical Guitar Society concert at a private house Saturday night, with an audience of about 65. He and jeremy Mouffe played both flamenco and classical and brought the house down, with two standing ovations.
> > > > When we talked to Grisha afterwards he said he wasn't feeling particularly well. He had his doubts about the performance, but once he got into it he forgot about having the flu. Technically he was as good as the video, but for a live audience there was more expression and passion.
> > > > RNJ
> > Speed has (almost) nothing to do with seating , at least in the short term. We learn to hold our instruments in a advantageous position in order to facilitate learning and to keep the human machine working throughout our
> > lives.
> My latest acquisition, the large Dynarette cushion, is definitely the way to go for me, finally something (I mean a guitar accesory) that suit me! No clunky noise, stable and reliable... eh! it may even prolong my guitar life of a good 5 to 10 years!
The dynarette cushion is good, but like I said in the video, it's not
really adjustable. If your seat is too high, it won't be high enough.
It works great with a folding chair. If you aren't gigging or
performing, it's fine.
On Mon, 17 Sep 2012 06:57:36 -0700, Tommy Grand wrote:
> On Sep 14, 3:43 pm, Douglas Seth <douglasse...@gmail.com> wrote:
>> Hi,
>> Here is my new blog post plus video on proper seating position. I plan
>> to blog about all technical areas in the coming weeks, complete with
>> video demos. Check it out and tell your guitar friends that might be
>> interested.
> Nice job. A couple of really good players have recommended leaning well
> forward and into the guitar, because it makes the guitar feel like an
> extension of your body -- which is essential for fluent playing. Any
> reaction to this?
Lean the guitar back if you are able, meaning if you are tall.
Sitting straight is always best, but short people may have to
lean forward a bit. When the guitar tilts back, the weight
of the arm holds the strings to the board. Rostropovich
holding the cello on his knee illustrated this principle.
Idiots called his manner of playing "eccentric". Since
I was a guitarist, I could see the logic of his position
the instant that I saw him play. Relatively
short people, like Julian Bream, play with a vertical top,
and they have to hold their hands up to the board, which
is an obvious disadvantage. The length of the arms has
more to do with it than the overall height. Sounds like some rationalization is going on with your source.
> On Sep 19, 10:49 am, Fadosolrélamisi <rei...@telus.net> wrote:
>> Le mercredi 19 septembre 2012 06:16:38 UTC-7, Murdick a écrit :
>>> On Tuesday, September 18, 2012 1:20:09 PM UTC-5, Cactus Wren wrote:
>>>> Somehow, I don't think your history lesson is going to change Kent's view of folk music.
>>>> Grisha mentioned on the flamenco forum that he couldn't quite get Conde's speed, but close! Interestingly, over there they had compared Conde's position to Grisha's (and Sabicas'), as opposed to Paco's.
>>>> On Tuesday, September 18, 2012 12:51:26 AM UTC-7, Richard Jernigan wrote:
>>>>> On Tuesday, September 18, 2012 2:42:58 AM UTC-5, Richard Jernigan wrote:
>>>>>> On Monday, September 17, 2012 3:02:23 PM UTC-5, Murdick wrote:
>>>>>>> On Monday, September 17, 2012 12:54:46 PM UTC-5, Cactus Wren wrote:
>>>>>>>> Kent,
>>>>>>>> please see this video, around 4:50 and then go back to your sax playing.
>>>>>>>> On Monday, September 17, 2012 9:01:48 AM UTC-7, Murdick wrote:
>>>>>>>>> On Sunday, September 16, 2012 10:08:42 PM UTC-5, JPD wrote:
>>>>>>>>>> On Sunday, September 16, 2012 5:36:02 PM UTC-7, Murdick wrote:
>>>>>>>>>>> Ahh, the joys of basic research.
>>>>>>>>>> I've been doing some basic research on i-m alternation with a cool camera that captures 1,000 frames per second. Not very expensive, either, for such a video camera. Got it new from Japan through eBay.
>>>>>>>>>> What I'm watching in particular are the differences between i and m. My m is fantastic. I'm trying to get it to teach my i. But they are very different fingers. In particular, i at rest is much more extended than m at rest. In Arpeggios, I think my i would be happier playing one string higher than m, rather than lower, frankly.
>>>>>>>>>> The problem at the moment is that, compared with m, i has to flex several degrees tighter (away from midrange) in order to play the next-lower string in an arpeggio. In a fast, continuous arpeggio, this encourages i to accumulate tension. It has to do more flexing than m to hit the string, and it tends to want to *stay* flexed. Mine does, anyway. m is much more relaxed, doing all of its work cloer to midrange.
>>>>>>>>>> The same goes for i-m alternation on a single string. i hardly has time to return to midrange before it has to turn around and flex again. The only way to get it to relax all the way out to midrange is to greatly overshoot the string on return.
>>>>>>>>>> I'm guessing that when I was decades younger and a hot player, my i was conditioned to be more relaxed in a more flexed position. (Shearer's "prepared" position.) Nowadays, when my i returns to the prepared position, it's not relaxed at all. I have to extend it quite a bit farther to get to its relaxed midrange. So it's way out of position, or so it feels.
>>>>>>>>>> I was looking at some slo-mo video of an older Yamashita the other day. He was playing blazing fast i-m alternation, and I noticed he was really overshooting the return with i. Taking a BIG swing with i, compared with m. "Swinging from the heels," as they say in baseball. I wonder if that's something he developed as he got older.
>>>>>>>>>> Anyway, it's interesting fooling around with this slo-mo video cam. Basic research.
>>>>>>>>> Ok, you will be on my list of people to send a video to. It could be that a problem with 'm' affects 'i'. That is due to 'm''s lack of independence from 'i', tension builds and both fingers begin to lose coordination. Even though my 'i' has good independence 'm', as I speed up, the whole im complex tenses up and 'i' starts getting quirky.
>>>>>>> Cactus says, "Kent,
>>>>>>> please see this video, around 4:50 and then go back to your sax playing."
>>>>>>> A) he's playing folk music
>>>>>> Javier is playing a piece by Agustin Castellon Campos "Sabicas" a sophisticated composer, though probably technically illiterate in music. Sabicas claimed he did not read or write musical notation, though for someone of his talent, this was unnecessary to develop beautifully balanced compositions of several minutes length.
>>>>>> Javier has copped the piece off a recording, pretty accurately. The recording is just a snapshot of Sabicas's continually evolving compositions in this genre, known as soleá. There are a multitude of sub-genres of soleá. Sabicas was proficient in all of them as an accompanist of dancers, of singers, and as a soloist. This is not :folk music in the sense of simple stuff handed down over generations. It is a sophisticated composition by a master, but Sabicas never played a piece the same way twice. It was always evolving.
>>>>>> Javier, good as he is, doesn't convey the nuances of Sabicas's playing.
>>>>>>> B) he may (or may not) be tearing himself up.
>>>>>> Whether Javier is tearing himself up remains to be seen. His technique differs a bit from Sabicas, who remained a virtuoso player into his late seventies. Javier's i-m technique is a little more like Paco de Lucia's than Sabicas's. Paco is 65 and still smokin'.
>>>>>>> Now I will go back to my saxophone, which is getting better, BTW.Here's an
>>>>>> Here's another dose of flamenco from Grisha Goryachev, a graduate of the New England Conservatory and student of Eliot Fisk. But he was playing concerts with his father in Russia when he was 12, or maybe younger, already with that machine-gun i-m speed.
>>>>>> This is a piece by Paco de Lucia. It is more like jazz than Sabicas's through-composed stuff--a sequence of variations on a chord progression and metric pattern.
>>>>> We saw Grisha at an Austin Classical Guitar Society concert at a private house Saturday night, with an audience of about 65. He and jeremy Mouffe played both flamenco and classical and brought the house down, with two standing ovations.
>>>>> When we talked to Grisha afterwards he said he wasn't feeling particularly well. He had his doubts about the performance, but once he got into it he forgot about having the flu. Technically he was as good as the video, but for a live audience there was more expression and passion.
>>>>> RNJ
>>> Speed has (almost) nothing to do with seating , at least in the short term. We learn to hold our instruments in a advantageous position in order to facilitate learning and to keep the human machine working throughout our
>>> lives.
>> My latest acquisition, the large Dynarette cushion, is definitely the way to go for me, finally something (I mean a guitar accesory) that suit me! No clunky noise, stable and reliable... eh! it may even prolong my guitar life of a good 5 to 10 years!
> The dynarette cushion is good, but like I said in the video, it's not
> really adjustable. If your seat is too high, it won't be high enough.
> It works great with a folding chair. If you aren't gigging or
> performing, it's fine.
The dynarette squeaks when the guitar moves on top of it. It's an issue when recording. If you're one of these players that doesn't move it might not matter. I don't move much but apparently enough to makes squeaks. Other than that I love it. I need to find a nice piece of cloth to throw over it when recording. I use the dynarette for gigs, but I always bring my own stool. If the venue has a stool that's the right height (seat to foot rung), then I'll use theirs, but if not I have mine.
> > On Sep 19, 10:49 am, Fadosolrélamisi <rei...@telus.net> wrote:
> >> Le mercredi 19 septembre 2012 06:16:38 UTC-7, Murdick a écrit :
> >>> On Tuesday, September 18, 2012 1:20:09 PM UTC-5, Cactus Wren wrote:
> >>>> Somehow, I don't think your history lesson is going to change Kent's view of folk music.
> >>>> Grisha mentioned on the flamenco forum that he couldn't quite get Conde's speed, but close! Interestingly, over there they had compared Conde's position to Grisha's (and Sabicas'), as opposed to Paco's.
> >>>> On Tuesday, September 18, 2012 12:51:26 AM UTC-7, Richard Jernigan wrote:
> >>>>> On Tuesday, September 18, 2012 2:42:58 AM UTC-5, Richard Jernigan wrote:
> >>>>>> On Monday, September 17, 2012 3:02:23 PM UTC-5, Murdick wrote:
> >>>>>>> On Monday, September 17, 2012 12:54:46 PM UTC-5, Cactus Wren wrote:
> >>>>>>>> Kent,
> >>>>>>>> please see this video, around 4:50 and then go back to your sax playing.
> >>>>>>>> On Monday, September 17, 2012 9:01:48 AM UTC-7, Murdick wrote:
> >>>>>>>>> On Sunday, September 16, 2012 10:08:42 PM UTC-5, JPD wrote:
> >>>>>>>>>> On Sunday, September 16, 2012 5:36:02 PM UTC-7, Murdick wrote:
> >>>>>>>>>>> Ahh, the joys of basic research.
> >>>>>>>>>> I've been doing some basic research on i-m alternation with a cool camera that captures 1,000 frames per second. Not very expensive, either, for such a video camera. Got it new from Japan through eBay.
> >>>>>>>>>> What I'm watching in particular are the differences between i and m. My m is fantastic. I'm trying to get it to teach my i. But they are very different fingers. In particular, i at rest is much more extended than m at rest. In Arpeggios, I think my i would be happier playing one string higher than m, rather than lower, frankly.
> >>>>>>>>>> The problem at the moment is that, compared with m, i has to flex several degrees tighter (away from midrange) in order to play the next-lower string in an arpeggio. In a fast, continuous arpeggio, this encourages i to accumulate tension. It has to do more flexing than m to hit the string, and it tends to want to *stay* flexed. Mine does, anyway. m is much more relaxed, doing all of its work cloer to midrange.
> >>>>>>>>>> The same goes for i-m alternation on a single string. i hardly has time to return to midrange before it has to turn around and flex again. The only way to get it to relax all the way out to midrange is to greatly overshoot the string on return.
> >>>>>>>>>> I'm guessing that when I was decades younger and a hot player, my i was conditioned to be more relaxed in a more flexed position. (Shearer's "prepared" position.) Nowadays, when my i returns to the prepared position, it's not relaxed at all. I have to extend it quite a bit farther to get to its relaxed midrange. So it's way out of position, or so it feels.
> >>>>>>>>>> I was looking at some slo-mo video of an older Yamashita the other day. He was playing blazing fast i-m alternation, and I noticed he was really overshooting the return with i. Taking a BIG swing with i, compared with m. "Swinging from the heels," as they say in baseball. I wonder if that's something he developed as he got older.
> >>>>>>>>>> Anyway, it's interesting fooling around with this slo-mo video cam. Basic research.
> >>>>>>>>> Ok, you will be on my list of people to send a video to. It could be that a problem with 'm' affects 'i'. That is due to 'm''s lack of independence from 'i', tension builds and both fingers begin to lose coordination. Even though my 'i' has good independence 'm', as I speed up, the whole im complex tenses up and 'i' starts getting quirky.
> >>>>>>> Cactus says, "Kent,
> >>>>>>> please see this video, around 4:50 and then go back to your sax playing."
> >>>>>>> A) he's playing folk music
> >>>>>> Javier is playing a piece by Agustin Castellon Campos "Sabicas" a sophisticated composer, though probably technically illiterate in music. Sabicas claimed he did not read or write musical notation, though for someone of his talent, this was unnecessary to develop beautifully balanced compositions of several minutes length.
> >>>>>> Javier has copped the piece off a recording, pretty accurately. The recording is just a snapshot of Sabicas's continually evolving compositions in this genre, known as soleá. There are a multitude of sub-genres of soleá. Sabicas was proficient in all of them as an accompanist of dancers, of singers, and as a soloist. This is not :folk music in the sense of simple stuff handed down over generations. It is a sophisticated composition by a master, but Sabicas never played a piece the same way twice. It was always evolving.
> >>>>>> Javier, good as he is, doesn't convey the nuances of Sabicas's playing.
> >>>>>>> B) he may (or may not) be tearing himself up.
> >>>>>> Whether Javier is tearing himself up remains to be seen. His technique differs a bit from Sabicas, who remained a virtuoso player into his late seventies. Javier's i-m technique is a little more like Paco de Lucia's than Sabicas's. Paco is 65 and still smokin'.
> >>>>>>> Now I will go back to my saxophone, which is getting better, BTW.Here's an
> >>>>>> Here's another dose of flamenco from Grisha Goryachev, a graduate of the New England Conservatory and student of Eliot Fisk. But he was playing concerts with his father in Russia when he was 12, or maybe younger, already with that machine-gun i-m speed.
> >>>>>> This is a piece by Paco de Lucia. It is more like jazz than Sabicas's through-composed stuff--a sequence of variations on a chord progression and metric pattern.
> >>>>> We saw Grisha at an Austin Classical Guitar Society concert at a private house Saturday night, with an audience of about 65. He and jeremy Mouffe played both flamenco and classical and brought the house down, with two standing ovations.
> >>>>> When we talked to Grisha afterwards he said he wasn't feeling particularly well. He had his doubts about the performance, but once he got into it he forgot about having the flu. Technically he was as good as the video, but for a live audience there was more expression and passion.
> >>>>> RNJ
> >>> Speed has (almost) nothing to do with seating , at least in the short term. We learn to hold our instruments in a advantageous position in order to facilitate learning and to keep the human machine working throughout our
> >>> lives.
> >> My latest acquisition, the large Dynarette cushion, is definitely the way to go for me, finally something (I mean a guitar accesory) that suit me! No clunky noise, stable and reliable... eh! it may even prolong my guitar life of a good 5 to 10 years!
> > The dynarette cushion is good, but like I said in the video, it's not
> > really adjustable. If your seat is too high, it won't be high enough.
> > It works great with a folding chair. If you aren't gigging or
> > performing, it's fine.
> The dynarette squeaks when the guitar moves on top of it. It's an issue
> when recording. If you're one of these players that doesn't move it
> might not matter. I don't move much but apparently enough to makes
> squeaks. Other than that I love it. I need to find a nice piece of cloth
> to throw over it when recording. I use the dynarette for gigs, but I
> always bring my own stool. If the venue has a stool that's the right
> height (seat to foot rung), then I'll use theirs, but if not I have mine.
> --
> Matt
Squeak far less than the murata (which was almost as squeaky as a pirate ship!)
I still have to use a very low foot stool with the dynarette (2 " of the ground) ... this is my third try at one of these so called "guitar support" ... in a few years I'll probably try the neck up or what ever will be in vogue ... I choose the murata a few years ago because of the unpredictability of the suction cups (I was using an ergo play) ...My Dynarette cushion hasn't squeak yet and when the guitar is placed it I almost do not notice it.
On Sun, 16 Sep 2012 20:36:11 -0700, John Huff wrote:
> On Saturday, 15 September 2012 06:43:56 UTC+10, Douglas Seth wrote:
>> Hi, Here is my new blog post plus video on proper seating position. I
>> plan to blog about all technical areas in the coming weeks, complete
>> with video demos. Check it out and tell your guitar friends that might
>> be interested.
>> http://nonylonstringsattached.blogspot.com/2012/09/classical-guitar-
seating-position.html?m=1
>> DS
> Good stuff. One thing that's missing too often when advice is given on
> seating position, is where to place a music stand. For a long time I got
> that wrong. I've seen quite a few players who have good seating position
> when playing without music, but it all goes horribly wrong when they set
> the stand down low and promptly lean well forward and off to one side. I
> did that myself, in fact...
That is not a bad habit for someone who wants to see the fretboard
and the music at the same time. It renders you more visible to
an audience if you perform with a stand. Presti and Lagoya used very low
cut-down music stands. It's not good for posture. It's not good for
watching a conductor. It certainly is not "wrong" either, although
clearly it is not right for you. It's a choice. Regards, daveA
One other thing, notice at 3.00 minutes that you hold the guitar neck too high which causes the right should to drop. I don't know if I mentioned this before. I'm sure this works for you and many others, but I wouldn't teach a student to play this way.
> > >> Le mercredi 19 septembre 2012 06:16:38 UTC-7, Murdick a écrit :
> > >>> On Tuesday, September 18, 2012 1:20:09 PM UTC-5, Cactus Wren wrote:
> > >>>> Somehow, I don't think your history lesson is going to change Kent's view of folk music.
> > >>>> Grisha mentioned on the flamenco forum that he couldn't quite get Conde's speed, but close! Interestingly, over there they had compared Conde's position to Grisha's (and Sabicas'), as opposed to Paco's.
> > >>>> On Tuesday, September 18, 2012 12:51:26 AM UTC-7, Richard Jernigan wrote:
> > >>>>> On Tuesday, September 18, 2012 2:42:58 AM UTC-5, Richard Jernigan wrote:
> > >>>>>> On Monday, September 17, 2012 3:02:23 PM UTC-5, Murdick wrote:
> > >>>>>>> On Monday, September 17, 2012 12:54:46 PM UTC-5, Cactus Wren wrote:
> > >>>>>>>> Kent,
> > >>>>>>>> please see this video, around 4:50 and then go back to your sax playing.
> > >>>>>>>> On Monday, September 17, 2012 9:01:48 AM UTC-7, Murdick wrote:
> > >>>>>>>>> On Sunday, September 16, 2012 10:08:42 PM UTC-5, JPD wrote:
> > >>>>>>>>>> On Sunday, September 16, 2012 5:36:02 PM UTC-7, Murdick wrote:
> > >>>>>>>>>>> Ahh, the joys of basic research.
> > >>>>>>>>>> I've been doing some basic research on i-m alternation with a cool camera that captures 1,000 frames per second. Not very expensive, either, for such a video camera. Got it new from Japan through eBay.
> > >>>>>>>>>> What I'm watching in particular are the differences between i and m. My m is fantastic. I'm trying to get it to teach my i. But they are very different fingers. In particular, i at rest is much more extended than m at rest. In Arpeggios, I think my i would be happier playing one string higher than m, rather than lower, frankly.
> > >>>>>>>>>> The problem at the moment is that, compared with m, i has to flex several degrees tighter (away from midrange) in order to play the next-lower string in an arpeggio. In a fast, continuous arpeggio, this encourages i to accumulate tension. It has to do more flexing than m to hit the string, and it tends to want to *stay* flexed. Mine does, anyway. m is much more relaxed, doing all of its work cloer to midrange.
> > >>>>>>>>>> The same goes for i-m alternation on a single string. i hardly has time to return to midrange before it has to turn around and flex again. The only way to get it to relax all the way out to midrange is to greatly overshoot the string on return.
> > >>>>>>>>>> I'm guessing that when I was decades younger and a hot player, my i was conditioned to be more relaxed in a more flexed position. (Shearer's "prepared" position.) Nowadays, when my i returns to the prepared position, it's not relaxed at all. I have to extend it quite a bit farther to get to its relaxed midrange. So it's way out of position, or so it feels.
> > >>>>>>>>>> I was looking at some slo-mo video of an older Yamashita the other day. He was playing blazing fast i-m alternation, and I noticed he was really overshooting the return with i. Taking a BIG swing with i, compared with m. "Swinging from the heels," as they say in baseball. I wonder if that's something he developed as he got older.
> > >>>>>>>>>> Anyway, it's interesting fooling around with this slo-mo video cam. Basic research.
> > >>>>>>>>> Ok, you will be on my list of people to send a video to. It could be that a problem with 'm' affects 'i'. That is due to 'm''s lack of independence from 'i', tension builds and both fingers begin to lose coordination. Even though my 'i' has good independence 'm', as I speed up, the whole im complex tenses up and 'i' starts getting quirky.
> > >>>>>>> Cactus says, "Kent,
> > >>>>>>> please see this video, around 4:50 and then go back to your sax playing."
> > >>>>>>> A) he's playing folk music
> > >>>>>> Javier is playing a piece by Agustin Castellon Campos "Sabicas" a sophisticated composer, though probably technically illiterate in music. Sabicas claimed he did not read or write musical notation, though for someone of his talent, this was unnecessary to develop beautifully balanced compositions of several minutes length.
> > >>>>>> Javier has copped the piece off a recording, pretty accurately. The recording is just a snapshot of Sabicas's continually evolving compositions in this genre, known as soleá. There are a multitude of sub-genres of soleá. Sabicas was proficient in all of them as an accompanist of dancers, of singers, and as a soloist. This is not :folk music in the sense of simple stuff handed down over generations. It is a sophisticated composition by a master, but Sabicas never played a piece the same way twice. It was always evolving.
> > >>>>>> Javier, good as he is, doesn't convey the nuances of Sabicas's playing.
> > >>>>>>> B) he may (or may not) be tearing himself up.
> > >>>>>> Whether Javier is tearing himself up remains to be seen. His technique differs a bit from Sabicas, who remained a virtuoso player into his late seventies. Javier's i-m technique is a little more like Paco de Lucia's than Sabicas's. Paco is 65 and still smokin'.
> > >>>>>>> Now I will go back to my saxophone, which is getting better, BTW.Here's an
> > >>>>>> Here's another dose of flamenco from Grisha Goryachev, a graduate of the New England Conservatory and student of Eliot Fisk. But he was playing concerts with his father in Russia when he was 12, or maybe younger, already with that machine-gun i-m speed.
> > >>>>>> This is a piece by Paco de Lucia. It is more like jazz than Sabicas's through-composed stuff--a sequence of variations on a chord progression and metric pattern.
> > >>>>> We saw Grisha at an Austin Classical Guitar Society concert at a private house Saturday night, with an audience of about 65. He and jeremy Mouffe played both flamenco and classical and brought the house down, with two standing ovations.
> > >>>>> When we talked to Grisha afterwards he said he wasn't feeling particularly well. He had his doubts about the performance, but once he got into it he forgot about having the flu. Technically he was as good as the video, but for a live audience there was more expression and passion.
> > >>>>> RNJ
> > >>> Speed has (almost) nothing to do with seating , at least in the short term. We learn to hold our instruments in a advantageous position in order to facilitate learning and to keep the human machine working throughout our
> > >>> lives.
> > >> My latest acquisition, the large Dynarette cushion, is definitely the way to go for me, finally something (I mean a guitar accesory) that suit me! No clunky noise, stable and reliable... eh! it may even prolong my guitar life of a good 5 to 10 years!
> > > The dynarette cushion is good, but like I said in the video, it's not
> > > really adjustable. If your seat is too high, it won't be high enough.
> > > It works great with a folding chair. If you aren't gigging or
> > > performing, it's fine.
> > The dynarette squeaks when the guitar moves on top of it. It's an issue
> > when recording. If you're one of these players that doesn't move it
> > might not matter. I don't move much but apparently enough to makes
> > squeaks. Other than that I love it. I need to find a nice piece of cloth
> > to throw over it when recording. I use the dynarette for gigs, but I
> > always bring my own stool. If the venue has a stool that's the right
> > height (seat to foot rung), then I'll use theirs, but if not I have mine.
> > --
> > Matt
> Squeak far less than the murata (which was almost as squeaky as a pirate ship!)
> I still have to use a very low foot stool with the dynarette (2 " of the ground) ... this is my third try at one of these so called "guitar support" ... in a few years I'll probably try the neck up or what ever will be in vogue ... I choose
> > > >> Le mercredi 19 septembre 2012 06:16:38 UTC-7, Murdick a écrit :
> > > >>> On Tuesday, September 18, 2012 1:20:09 PM UTC-5, Cactus Wren wrote:
> > > >>>> Somehow, I don't think your history lesson is going to change Kent's view of folk music.
> > > >>>> Grisha mentioned on the flamenco forum that he couldn't quite get Conde's speed, but close! Interestingly, over there they had compared Conde's position to Grisha's (and Sabicas'), as opposed to Paco's.
> > > >>>> On Tuesday, September 18, 2012 12:51:26 AM UTC-7, Richard Jernigan wrote:
> > > >>>>> On Tuesday, September 18, 2012 2:42:58 AM UTC-5, Richard Jernigan wrote:
> > > >>>>>> On Monday, September 17, 2012 3:02:23 PM UTC-5, Murdick wrote:
> > > >>>>>>> On Monday, September 17, 2012 12:54:46 PM UTC-5, Cactus Wren wrote:
> > > >>>>>>>> Kent,
> > > >>>>>>>> please see this video, around 4:50 and then go back to your sax playing.
> > > >>>>>>>> On Monday, September 17, 2012 9:01:48 AM UTC-7, Murdick wrote:
> > > >>>>>>>>> On Sunday, September 16, 2012 10:08:42 PM UTC-5, JPD wrote:
> > > >>>>>>>>>> On Sunday, September 16, 2012 5:36:02 PM UTC-7, Murdick wrote:
> > > >>>>>>>>>>> Ahh, the joys of basic research.
> > > >>>>>>>>>> I've been doing some basic research on i-m alternation with a cool camera that captures 1,000 frames per second. Not very expensive, either, for such a video camera. Got it new from Japan through eBay.
> > > >>>>>>>>>> What I'm watching in particular are the differences between i and m. My m is fantastic. I'm trying to get it to teach my i. But they are very different fingers. In particular, i at rest is much more extended than m at rest. In Arpeggios, I think my i would be happier playing one string higher than m, rather than lower, frankly.
> > > >>>>>>>>>> The problem at the moment is that, compared with m, i has to flex several degrees tighter (away from midrange) in order to play the next-lower string in an arpeggio. In a fast, continuous arpeggio, this encourages i to accumulate tension. It has to do more flexing than m to hit the string, and it tends to want to *stay* flexed. Mine does, anyway. m is much more relaxed, doing all of its work cloer to midrange.
> > > >>>>>>>>>> The same goes for i-m alternation on a single string. i hardly has time to return to midrange before it has to turn around and flex again. The only way to get it to relax all the way out to midrange is to greatly overshoot the string on return.
> > > >>>>>>>>>> I'm guessing that when I was decades younger and a hot player, my i was conditioned to be more relaxed in a more flexed position. (Shearer's "prepared" position.) Nowadays, when my i returns to the prepared position, it's not relaxed at all. I have to extend it quite a bit farther to get to its relaxed midrange. So it's way out of position, or so it feels.
> > > >>>>>>>>>> I was looking at some slo-mo video of an older Yamashita the other day. He was playing blazing fast i-m alternation, and I noticed he was really overshooting the return with i. Taking a BIG swing with i, compared with m. "Swinging from the heels," as they say in baseball. I wonder if that's something he developed as he got older.
> > > >>>>>>>>>> Anyway, it's interesting fooling around with this slo-mo video cam. Basic research.
> > > >>>>>>>>> Ok, you will be on my list of people to send a video to. It could be that a problem with 'm' affects 'i'. That is due to 'm''s lack of independence from 'i', tension builds and both fingers begin to lose coordination. Even though my 'i' has good independence 'm', as I speed up, the whole im complex tenses up and 'i' starts getting quirky.
> > > >>>>>>> Cactus says, "Kent,
> > > >>>>>>> please see this video, around 4:50 and then go back to your sax playing."
> > > >>>>>>> A) he's playing folk music
> > > >>>>>> Javier is playing a piece by Agustin Castellon Campos "Sabicas" a sophisticated composer, though probably technically illiterate in music. Sabicas claimed he did not read or write musical notation, though for someone of his talent, this was unnecessary to develop beautifully balanced compositions of several minutes length.
> > > >>>>>> Javier has copped the piece off a recording, pretty accurately. The recording is just a snapshot of Sabicas's continually evolving compositions in this genre, known as soleá. There are a multitude of sub-genres of soleá. Sabicas was proficient in all of them as an accompanist of dancers, of singers, and as a soloist. This is not :folk music in the sense of simple stuff handed down over generations. It is a sophisticated composition by a master, but Sabicas never played a piece the same way twice. It was always evolving.
> > > >>>>>> Javier, good as he is, doesn't convey the nuances of Sabicas's playing.
> > > >>>>>>> B) he may (or may not) be tearing himself up.
> > > >>>>>> Whether Javier is tearing himself up remains to be seen. His technique differs a bit from Sabicas, who remained a virtuoso player into his late seventies. Javier's i-m technique is a little more like Paco de Lucia's than Sabicas's. Paco is 65 and still smokin'.
> > > >>>>>>> Now I will go back to my saxophone, which is getting better, BTW.Here's an
> > > >>>>>> Here's another dose of flamenco from Grisha Goryachev, a graduate of the New England Conservatory and student of Eliot Fisk. But he was playing concerts with his father in Russia when he was 12, or maybe younger, already with that machine-gun i-m speed.
> > > >>>>>> This is a piece by Paco de Lucia. It is more like jazz than Sabicas's through-composed stuff--a sequence of variations on a chord progression and metric pattern.
> > > >>>>> We saw Grisha at an Austin Classical Guitar Society concert at a private house Saturday night, with an audience of about 65. He and jeremy Mouffe played both flamenco and classical and brought the house down, with two standing ovations.
> > > >>>>> When we talked to Grisha afterwards he said he wasn't feeling particularly well. He had his doubts about the performance, but once he got into it he forgot about having the flu. Technically he was as good as the video, but for a live audience there was more expression and passion.
On Oct 8, 8:29 pm, Murdick <lutem...@aol.com> wrote:
> One other thing, notice at 3.00 minutes that you hold the guitar neck too high which causes the right should to drop. I don't know if I mentioned this before. I'm sure this works for you and many others, but I wouldn't teach a student to play this way.
I see that, first of all, I NEVER play with a footstool. I missed it,
if I was looking at a student I would look for level shoulders. At
4:10 is closer to the actual position I do use, with the support I
use. You can see the difference. All that said, even with the mistake
at the 3 minute mark, it is still a better seating position than most.
I am very open minded about technique in general, but the LAGQ could
sit however they want and play well despite themselves. However, there
always something to learn about a great player's approach. My flamenco
teacher says you be able to perform in at least 2 different seating
positions to keep your body moving around and not too rigid in one
singular position. It is a good point and this guy is an incredible
player.
On Tuesday, October 9, 2012 7:27:31 AM UTC-5, Murdick wrote:
> Richard, I'm not saying that you can't play in various positions, I'm talking about optimal positioning for someone who is learning the guitar. When a student is paying you 50 bucks, you better know what optimal positioning is all about - and it is not playing with large muscle groups out of position, i.e. a dropped shoulder.
It was the mention of the Dynarette that prompted my remark. Despite their variety of approaches the LAGQ all looked pretty good to me--though I just surveyed them briefly a couple of times. Level shoulders, erect backs, no craned necks, quiet right hands, the usual advice I've heard and read.
I was particularly interested in Tennant, since it took me quite a while to figure out the old-time flamenco position. He had it down pat. Level shoulders, guitar held by the weight of the right upper arm just about parallel to the floor, no evidence of excess tension anywhere. He was remarkably secure, and perhaps the most technically impressive of the bunch.
But I was most interested in the music. A great program presented with fantastic musicianship!
The Austin Classical Guitar Society seems to program Ana Vidovic every year. I'm always impressed by how well she plays, despite violating many of the 'rules' of the game. Hope it doesn't mess her up as the years accumulate.
