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Subject: Re: New Blog Post-Seating Position
From: =?ISO-8859-1?Q?Fadosolr=E9lamisi?= <rei...@telus.net>
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Le mercredi 19 septembre 2012 06:16:38 UTC-7, Murdick a =E9crit=A0:
> On Tuesday, September 18, 2012 1:20:09 PM UTC-5, Cactus Wren wrote:
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> > Somehow, I don't think your history lesson is going to change Kent's vi=
ew of folk music. =20
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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 Conde's p=
osition to Grisha's (and Sabicas'), as opposed to Paco's.
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> > On Tuesday, September 18, 2012 12:51:26 AM UTC-7, Richard Jernigan wrot=
e:
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> > > On Tuesday, September 18, 2012 2:42:58 AM UTC-5, Richard Jernigan wro=
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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 wrot=
e:
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> > > > > > Kent,
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> > > > > > please see this video, around 4:50 and then go back to your sax=
 playing.
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> > > > > > http://www.youtube.com/watch?feature=3Dplayer_embedded&v=3DfqwO=
qWvqnlw#!
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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 wro=
te:
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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 cool camera that captures 1,000 frames per second. Not very expensive, e=
ither, 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 and m. My m is fantastic. I'm trying to get it to teach my i. But they a=
re very different fingers. In particular, i at rest is much more extended t=
han m at rest. In Arpeggios, I think my i would be happier playing one stri=
ng higher than m, rather than lower, frankly.
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> > > > > > > > The problem at the moment is that, compared with m, i has t=
o flex several degrees tighter (away from midrange) in order to play the ne=
xt-lower string in an arpeggio. In a fast, continuous arpeggio, this encour=
ages i to accumulate tension. It has to do more flexing than m to hit the s=
tring, 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 har=
dly has time to return to midrange before it has to turn around and flex ag=
ain. The only way to get it to relax all the way out to midrange is to grea=
tly overshoot the string on return.=20
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> > > > > > > > I'm guessing that when I was decades younger and a hot play=
er, my i was conditioned to be more relaxed in a more flexed position. (She=
arer's "prepared" position.) Nowadays, when my i returns to the prepared po=
sition, 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 th=
e 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, compa=
red 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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> > > > > > > > Anyway, it's interesting fooling around with this slo-mo vi=
deo 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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> > > > > Cactus says, "Kent,
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> > > > > please see this video, around 4:50 and then go back to your sax p=
laying."
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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 s=
ophisticated composer, though probably technically illiterate in music. Sab=
icas claimed he did not read or write musical notation, though for someone =
of his talent, this was unnecessary to develop beautifully balanced composi=
tions of several minutes length.=20
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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 composition=
s in this genre, known as sole=E1. There are a multitude of sub-genres of s=
ole=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 simp=
le 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 alwa=
ys evolving.=20
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> > > >  Javier, good as he is, doesn't convey the nuances of Sabicas's pla=
ying.=20
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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 techni=
que differs a bit from Sabicas, who remained a virtuoso player into his lat=
e seventies. Javier's i-m technique is a little more like Paco de Lucia's t=
han 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 o=
f the New England Conservatory and student of Eliot Fisk. But he was playin=
g concerts with his father in Russia when he was 12, or maybe younger, alre=
ady 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 through-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_embed=
ded
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> > > > RNJ
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> > > We saw Grisha at an Austin Classical Guitar Society concert at a priv=
ate house Saturday night, with an audience of about 65. He and jeremy Mouff=
e played both flamenco and classical and brought the house down, with two s=
tanding ovations.
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> > > When we talked to Grisha afterwards he said he wasn't feeling particu=
larly well. He had his doubts about the performance, but once he got into i=
t 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
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> Speed has (almost) nothing to do with seating , at least in the short ter=
m.  We learn to hold our instruments in a advantageous position in order to=
 facilitate learning and to keep the human machine working throughout our=
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> lives.

My latest acquisition, the large Dynarette cushion, is definitely the way t=
o 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!=20