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Date: Tue, 9 Oct 2012 00:22:53 -0700 (PDT)
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Subject: Re: New Blog Post-Seating Position
From: Richard Jernigan <rnjerni...@yahoo.com>
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On Wednesday, September 19, 2012 8:54:32 PM UTC-5, Fadosolr=E9lamisi wrote:
> Le mercredi 19 septembre 2012 13:54:12 UTC-7, Matt Faunce a =E9crit=A0:
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> > On 9/19/12 11:11 AM, Douglas Seth wrote:
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> > > On Sep 19, 10:49 am, Fadosolr=E9lamisi <rei...@telus.net> wrote:
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> > >> Le mercredi 19 septembre 2012 06:16:38 UTC-7, Murdick a =E9crit :
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> > >>
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> > >>> On Tuesday, September 18, 2012 1:20:09 PM UTC-5, Cactus Wren wrote:
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> > >>
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> > >>>> Somehow, I don't think your history lesson is going to change Kent=
's view of folk music.
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> > >>
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> > >>>> Grisha mentioned on the flamenco forum that he couldn't quite get =
Conde's speed, but close!  Interestingly, over there they had compared Cond=
e's position to Grisha's (and Sabicas'), as opposed to Paco's.
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> > >>
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> > >>>> On Tuesday, September 18, 2012 12:51:26 AM UTC-7, Richard Jernigan=
 wrote:
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> > >>
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> > >>>>> On Tuesday, September 18, 2012 2:42:58 AM UTC-5, Richard Jernigan=
 wrote:
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> > >>
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> > >>>>>> On Monday, September 17, 2012 3:02:23 PM UTC-5, Murdick wrote:
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> > >>
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> > >>>>>>> On Monday, September 17, 2012 12:54:46 PM UTC-5, Cactus Wren wr=
ote:
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> > >>
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> > >>>>>>>> Kent,
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> > >>
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> > >>>>>>>> please see this video, around 4:50 and then go back to your sa=
x playing.
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> > >>
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> > >>>>>>>> http://www.youtube.com/watch?feature=3Dplayer_embedded&v=3Dfqw=
OqWvqnlw#!
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> > >>
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> > >>>>>>>> On Monday, September 17, 2012 9:01:48 AM UTC-7, Murdick wrote:
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> > >>
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> > >>>>>>>>> On Sunday, September 16, 2012 10:08:42 PM UTC-5, JPD wrote:
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> > >>
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> > >>>>>>>>>> On Sunday, September 16, 2012 5:36:02 PM UTC-7, Murdick wrot=
e:
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> > >>
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> > >>>>>>>>>>> Ahh, the joys of basic research.
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> > >>>>>>>>>> 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, ei=
ther, for such a video camera. Got it new from Japan through eBay.
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> > >>
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> > >>>>>>>>>> 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 ar=
e very different fingers. In particular, i at rest is much more extended th=
an m at rest. In Arpeggios, I think my i would be happier playing one strin=
g higher than m, rather than lower, frankly.
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> > >>
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> > >>>>>>>>>> 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 nex=
t-lower string in an arpeggio. In a fast, continuous arpeggio, this encoura=
ges i to accumulate tension. It has to do more flexing than m to hit the st=
ring, and it tends to want to *stay* flexed. Mine does, anyway. m is much m=
ore relaxed, doing all of its work cloer to midrange.
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> > >>
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> > >>>>>>>>>> The same goes for i-m alternation on a single string. i hard=
ly has time to return to midrange before it has to turn around and flex aga=
in. The only way to get it to relax all the way out to midrange is to great=
ly overshoot the string on return.
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> > >>>>>>>>>> I'm guessing that when I was decades younger and a hot playe=
r, my i was conditioned to be more relaxed in a more flexed position. (Shea=
rer's "prepared" position.) Nowadays, when my i returns to the prepared pos=
ition, 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=
 other day. He was playing blazing fast i-m alternation, and I noticed he w=
as really overshooting the return with i. Taking a BIG swing with i, compar=
ed with m. "Swinging from the heels," as they say in baseball. I wonder if =
that's something he developed as he got older.
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> > >>
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> > >>>>>>>>>> Anyway, it's interesting fooling around with this slo-mo vid=
eo cam. Basic research.
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> > >>>>>>>>> Ok, you will be on my list of people to send a video to. It c=
ould 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 coordi=
nation. Even though my 'i' has good independence 'm', as I speed up, the wh=
ole im complex tenses up and 'i' starts getting quirky.
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> > >>
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> > >>>>>>> Cactus says, "Kent,
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> > >>
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> > >>>>>>> please see this video, around 4:50 and then go back to your sax=
 playing."
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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 sophisticated composer, though probably technically illiterate in music. =
Sabicas claimed he did not read or write musical notation, though for someo=
ne of his talent, this was unnecessary to develop beautifully balanced comp=
ositions of several minutes length.
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> > >>>>>> Javier has copped the piece off a recording, pretty accurately. =
The recording is just a snapshot of Sabicas's continually evolving composit=
ions in this genre, known as sole=E1. There are a multitude of sub-genres o=
f sole=E1. Sabicas was proficient in all of them as an accompanist of dance=
rs, of singers, and as a soloist. This is not :folk music in the sense of s=
imple 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 a=
lways evolving.
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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 tec=
hnique 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'.
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> > >>>>>>> Now I will go back to my saxophone, which is getting better, BT=
W.Here's an
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> > >>>>>> Here's another dose of flamenco from Grisha Goryachev, a graduat=
e of the New England Conservatory and student of Eliot Fisk. But he was pla=
ying concerts with his father in Russia when he was 12, or maybe younger, a=
lready 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 Sabi=
cas's through-composed stuff--a sequence of variations on a chord progressi=
on and metric pattern.
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> > >>>>>> http://www.youtube.com/watch?v=3DgMCak0-0WNw&feature=3Dplayer_em=
bedded
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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 M=
ouffe played both flamenco and classical and brought the house down, with t=
wo standing ovations.
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> > >>>>> When we talked to Grisha afterwards he said he wasn't feeling par=
ticularly well. He had his doubts about the performance, but once he got in=
to it he forgot about having the flu. Technically he was as good as the vid=
eo, but for a live audience there was more expression and passion.
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> > >>>>> RNJ
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> > >>> Speed has (almost) nothing to do with seating , at least in the sho=
rt term.  We learn to hold our instruments in a advantageous position in or=
der to facilitate learning and to keep the human machine working throughout=
 our
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> > >>
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> > >>> lives.
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> > >> My latest acquisition, the large Dynarette cushion, is definitely th=
e 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 guit=
ar life of a good 5 to 10 years!
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> > >
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> > > The dynarette cushion is good, but like I said in the video, it's not
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> > > really adjustable. If your seat is too high, it won't be high enough.
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> > > It works great with a folding chair. If you aren't gigging or
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> > > performing, it's fine.
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> > The dynarette squeaks when the guitar moves on top of it. It's an issue=
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> > when recording. If you're one of these players that doesn't move it=20
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> > might not matter. I don't move much but apparently enough to makes=20
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> > squeaks. Other than that I love it. I need to find a nice piece of clot=
h=20
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> > to throw over it when recording. I use the dynarette for gigs, but I=20
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> > always bring my own stool. If the venue has a stool that's the right=20
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> > height (seat to foot rung), then I'll use theirs, but if not I have min=
e.
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> > --=20
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> > Matt
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> Squeak far less than the murata (which was almost as squeaky as a pirate =
ship!)
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> 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 v=
ogue ... I choose the murata a few years ago because of the unpredictabilit=
y of the suction cups (I was using an ergo play) ...My Dynarette cushion ha=
sn't squeak yet and when the guitar is placed it I almost do not notice it.

I sat on the front row for the L.A. Guitar Quartet's concert here in Austin=
 night before last. Kanengiser used a Dynarette and a low footstool under h=
is left foot. Dearman used just a footstool set quite high. Greif used just=
 a footstool at moderate height. Tennant held the guitaar in the old-time f=
lamenco position, somewhat supported by his ample abdomen. They all exhibit=
ed technical and musical virtuosity of the highest degree.

RNJ