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Subject: Re: New Blog Post-Seating Position
From: Cactus Wren <elegantspanishgui...@gmail.com>
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Somehow, I don't think your history lesson is going to change Kent's view o=
f folk music. =20

Grisha mentioned on the flamenco forum that he couldn't quite get Conde's s=
peed, but close!  Interestingly, over there they had compared Conde's posit=
ion 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:
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> > On Monday, September 17, 2012 3:02:23 PM UTC-5, Murdick wrote:
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> > > On Monday, September 17, 2012 12:54:46 PM UTC-5, Cactus Wren wrote:
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> > > > Kent,
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> > > > please see this video, around 4:50 and then go back to your sax pla=
ying.
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> > > > http://www.youtube.com/watch?feature=3Dplayer_embedded&v=3DfqwOqWvq=
nlw#!
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> > > > On Monday, September 17, 2012 9:01:48 AM UTC-7, Murdick wrote:
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> > > > > On Sunday, September 16, 2012 10:08:42 PM UTC-5, JPD wrote:
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> > > > > > On Sunday, September 16, 2012 5:36:02 PM UTC-7, Murdick wrote:
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> > > > > > > Ahh, the joys of basic research.=20
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> > > > > > I've been doing some basic research on i-m alternation with a c=
ool camera that captures 1,000 frames per second. Not very expensive, eithe=
r, for such a video camera. Got it new from Japan through eBay.=20
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> > > > > > What I'm watching in particular are the differences between i a=
nd m. My m is fantastic. I'm trying to get it to teach my i. But they are v=
ery 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 h=
igher than m, rather than lower, frankly.
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> > > > > > The problem at the moment is that, compared with m, i has to fl=
ex several degrees tighter (away from midrange) in order to play the next-l=
ower 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 strin=
g, and it tends to want to *stay* flexed. Mine does, anyway. m is much more=
 relaxed, doing all of its work cloer to midrange.
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> > > > > > 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.=20
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> > > > > > 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 positi=
on, 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.
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> > > > > > I was looking at some slo-mo video of an older Yamashita the ot=
her 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 tha=
t's something he developed as he got older.
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> > > > > > Anyway, it's interesting fooling around with this slo-mo video =
cam. Basic research.
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> > > > > 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 inde=
pendence from 'i', tension builds and both fingers begin to lose coordinati=
on. Even though my 'i' has good independence 'm', as I speed up, the whole =
im complex tenses up and 'i' starts getting quirky.
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> > > Cactus says, "Kent,
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> > > please see this video, around 4:50 and then go back to your sax playi=
ng."
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> > > A) he's playing folk music
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> > Javier is playing a piece by Agustin Castellon Campos "Sabicas" a sophi=
sticated composer, though probably technically illiterate in music. Sabicas=
 claimed he did not read or write musical notation, though for someone of h=
is talent, this was unnecessary to develop beautifully balanced composition=
s of several minutes length.=20
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> > Javier has copped the piece off a recording, pretty accurately. The rec=
ording is just a snapshot of Sabicas's continually evolving compositions in=
 this genre, known as sole=E1. There are a multitude of sub-genres of sole=
=E1. 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.=20
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> >  Javier, good as he is, doesn't convey the nuances of Sabicas's playing=
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> > > B) he may (or may not) be tearing himself up.
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> > 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 se=
venties. Javier's i-m technique is a little more like Paco de Lucia's than =
Sabicas's. Paco is 65 and still smokin'.
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> > > Now I will go back to my saxophone, which is getting better, BTW.Here=
's an
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> > Here's another dose of flamenco from Grisha Goryachev, a graduate of th=
e New England Conservatory and student of Eliot Fisk. But he was playing co=
ncerts with his father in Russia when he was 12, or maybe younger, already =
with that machine-gun i-m speed.
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> > This is a piece by Paco de Lucia. It is more like jazz than Sabicas's t=
hrough-composed stuff--a sequence of variations on a chord progression and =
metric pattern.
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> > http://www.youtube.com/watch?v=3DgMCak0-0WNw&feature=3Dplayer_embedded
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> > RNJ
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> 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 pl=
ayed both flamenco and classical and brought the house down, with two stand=
ing ovations.
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> When we talked to Grisha afterwards he said he wasn't feeling particularl=
y 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.
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> RNJ