215 replies to this topic

[rubendiaz]

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We have a pretty large collection of classical and flamenco guitar topics most of which have been contributed by Ruben Diaz. I'm merging them into this topic so they will be easier to reference and not so spread out around the forum.

-Dadfad

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Today its John McLaughlin’s birthday and I would like to celebrate it by shearing with you a couple of lessons on his music, 2 pieces that are very much linked to Paco and to a whole generation of lovers of jazz-fusion and guitar players.

I)

Lotus Feet by John McLaughlin

This composition is a fantastic melody with just two chords
Em and C

The arpeggio & melody theme explanation is here

<a href="http://www.rdiaz.org...dvideo114.html" target="_blank">http://www.rdiaz.org...deo114.html</a>

and the sound track to practice improvisation,(for example we can use G major scale (which is G Ionian mode and played over the chord Em becomes E Aeolian and over C major chord becomes C Lydian, so it works nicely G major scale for both chords, you just try and will see…)

<a href="http://www.rdiaz.org...dvideo115.html" target="_blank">http://www.rdiaz.org...deo115.html</a>

and



II)

“El David”
<a href="http://www.rdiaz.org...rdvideo82.html" target="_blank">http://www.rdiaz.org...ideo82.html</a>


Be creative and have fun!


Happy birthday John!



Ruben Diaz
<a href="http://www.rdiaz.org.../rdfoto16.html" target="_blank">http://www.rdiaz.org...foto16.html</a>

<a href="http://www.rdiaz.org.../rdfoto15.html" target="_blank">http://www.rdiaz.org...foto15.html</a>

[rubendiaz]

John is a key person as far as the flamenco contemporary guitar is concerned, and as you know his works with my preceptor
Paco De Lucia are very important on the compositional
field as well as for the all the innovations on guitar and arrangements for guitar/duets etc.

I also composed a special piece dedicated to him,
(track 4 of my “Andalusian flavor” album)
here is that piece played live “For John” (tangos)

http://www.rdiaz.org/rdvideo7.html


Two persons (great bass players) related to john Mclaughlin,
Kai Eckhardt (from “John Mclaughlin Trio” with Trilok Gurtu),
and Matthew Garrison (from “Industrial Zen” record) commented about my record “Andalusian flavor” here:

http://www.rdiaz.org/rdbegining.html



I hope you enjoy it!



Happy birthday John!



Ruben Diaz
http://www.rdiaz.org/rdfoto14.html

http://www.rdiaz.org/rdfoto6.html

[rubendiaz]

To continue with the discography of Paco De Lucia and Camaron.

Here are the Tangos “Yo vivo enamorao”

the piece
http://www.rdiaz.org/rdvideo26.html


the lesson (falseta intro)
http://www.rdiaz.org/rdvideo27.html



Be creative and have fun!



Ruben Diaz
http://www.rdiaz.org/rdfoto5.html

[rubendiaz]

To continue with the discography of:
Paco De Lucia and Camaron.

This is the Tanguillo “Romance de la Luna”

with lyrics by great poet: Federico Garcia Lorca

the piece
http://www.rdiaz.org/rdvideo28.html


the lesson (falseta intro)
http://www.rdiaz.org/rdvideo29.html




Be creative and have fun!



Ruben Diaz
http://www.rdiaz.org/rdfoto2.html

[rubendiaz]

Now for the advanced players that want to explore the realm of
contemporary flamenco scale playing or “picado”
this is the first part video lesson of a series


http://www.rdiaz.org/rdvideo161.html



on scale techniques that will enhance your sound,phrasing
and the rhythmic control (melodically),by including some ideas of the Konacol Indian system of rhythm into the Paco De Lucia’s techniques.
In fact is a new adventure,and it will be of great help in every aspect of your playing.





“technique is just a tool for music… but is THE tool”
Paco De Lucia.



Practice dynamically with creativity and have fun!


Ruben Diaz
http://www.rdiaz.org/rdfoto37.html

[rubendiaz]

For the advanced players that want to explore the realm of
contemporary flamenco scale playing or “picado”
this is the second part video lesson of a series



http://www.rdiaz.org/rdvideo162.html



on scale techniques that will enhance your sound,phrasing
and the rhythmic control (melodically),by including some ideas of the Konacol Indian system of rhythm into the Paco De Lucia’s techniques.
In fact is a new adventure,and it will be of great help in every aspect of your playing.





“technique is just a tool for music… but is THE tool”
Paco De Lucia.



Practice dynamically with creativity and have fun!


Ruben Diaz
http://www.rdiaz.org/rdfoto2.html

[rubendiaz]

This is the video 3 of the performance with the band at the

Toronto International Flamenco Festival


http://www.rdiaz.org/rdvideo159.html



with:

Bill Mc Birnie Flute
Alex Dean Sax
Juan Pablo Dominguez Bass
Bhadra Dasi Cajon,Flamenco Dancer
Greg Gebert Guitar


photos of the concert:

http://www.rdiaz.org/rdfoto47.html

http://www.rdiaz.org/rdfoto48.html



Ruben Diaz
http://www.rdiaz.org/rdfoto4.html

[rubendiaz]

The “remate” or end of phrase is very important to learn,and here is a chord progression of:

IVm V7b9

Am B7b9

with examples of chains of b3,whole tone scale etc.

http://www.rdiaz.org/rdvideo163.html






Be creative and have fun!


Ruben Diaz
http://www.rdiaz.org/rdfoto5.html

[rubendiaz]

The “remate” or end of phrase is very important to learn,and here is a chord progression of:

IVm V7b9

on three different keys (modulation)


F#m G#7b9

Am B7b9

Gm A7b9


with examples of chains of b3,whole tone scale combined etc.


http://www.rdiaz.org/rdvideo164.html





Be creative and have fun!


Ruben Diaz
http://www.rdiaz.org/rdfoto12.html

[rubendiaz]

Here is the fifth part of the workshop at the Royal Conservatory of Toronto, in which the subject of the
characteristics & qualities that a good flamenco guitar
should have were explained.




http://www.rdiaz.org/rdvideo152.html






To summarize some essential factors:

1) QUALITY OF SOUND (concepts of female & male, etc.)


a) “timbre” and tone of every string
b} Balance
(between trebles and basses etc.)
c) Quality & age of the soundboard or top, and wood.
d) Intonation & harmonics, sustain etc.
e) Projection & response.
f) Diverse bracing patterns and the “golpe” or taping
g) different kinds of bridges, thickness & symmetric, etc.

2) PLAYABILITY



a) Bridge measurements (even distance between holes, bridge proper height etc)
b} Action (millimetres between 6th and 12 fret, etc)
c) Tension of the guitar while playing.



3) BEAUTY

a) Kind of varnish (how it affects the sound etc)
b} Colors of wood & kinds of woods traditional and beyond.



Be creative and have fun!



Ruben Diaz
http://www.rdiaz.org/rdfoto37.html

[rubendiaz]

Here is the sixth part of the workshop at the Royal Conservatory of Toronto, in which the subject of the
characteristics & qualities that a good flamenco guitar
should have were explained.



http://www.rdiaz.org/rdvideo153.html








To summarize some essential factors:

1) QUALITY OF SOUND (concepts of female & male, etc.)


a} “timbre” and tone of every string
b} Balance
(between trebles and basses etc.)
c} Quality & age of the soundboard or top, and wood.
d| Intonation & harmonics, sustain etc.
e} Projection & response.
f} Diverse bracing patterns and the “golpe” or taping
g} different kinds of bridges, thickness & symmetric, etc.

2) PLAYABILITY



a} Bridge measurements (even distance between holes, bridge proper height etc)
b} Action (millimetres between 6th and 12 fret, etc)
c} Tension of the guitar while playing.



3) BEAUTY

a} Kind of varnish (how it affects the sound etc)
b} Colors of wood & kinds of woods traditional and beyond.



Be creative and have fun!


http://www.rdiaz.org/rdfoto15.html
Ruben Diaz

[rubendiaz]

Here is the seventh part of the workshop at the Royal Conservatory of Toronto, in which the subject of the
characteristics & qualities that a good flamenco guitar
should have were explained.


http://www.rdiaz.org/rdvideo154.html



To summarize some essential factors:

1) QUALITY OF SOUND (concepts of female & male, etc.)


a) “timbre” and tone of every string
Balance
(between trebles and basses etc.)
c) Quality & age of the soundboard or top, and wood.
d) Intonation & harmonics, sustain etc.
e) Projection & response.
f) Diverse bracing patterns and the “golpe” or taping
g) different kinds of bridges, thickness & symmetric, etc.

2) PLAYABILITY



a) Bridge measurements (even distance between holes, bridge proper height etc)
Action (millimetres between 6th and 12 fret, etc)
c) Tension of the guitar while playing.



3) BEAUTY

a) Kind of varnish (how it affects the sound etc)
Colors of wood & kinds of woods traditional and beyond.



Be creative and have fun!


http://www.rdiaz.org/rdfoto2.html
Ruben Diaz

[rubendiaz]

Following Paco De Lucia’s enlightened guitar technique works, I would like to inspire any guitar player (either players of Spanish guitar as well as pick players) interested in getting a proficient technique not as an end on itself, but as a medium to freely expressing emotions using technique skills as a vehicle for creativity, and to nurture their “finger print” as composers, improvisers or performers, through music without “self imposed” restrictions, due to insufficient technique.

Here is the (part 1) of a series on “Picado” or scales patterns & techniques for guitar, that will be useful for any style you play, and will enable you to enhance your coordination and phrasing with the instrument, in whatever musical context you are.


http://www.rdiaz.org/rdvideo166.html


Be creative and have fun!


Ruben Diaz
http://www.rdiaz.org/rdfoto4.html

[surfwhammy]

Following Paco De Lucia’s enlightened guitar technique works, I would like to inspire any guitar player (either players of Spanish guitar as well as pick players) interested in getting a proficient technique not as an end on itself, but as a medium to freely expressing emotions using technique skills as a vehicle for creativity, and to nurture their “finger print” as composers, improvisers or performers, through music without “self imposed” restrictions, due to insufficient technique.

Here is the (part 1) of a series on “Picado” or scales patterns & techniques for guitar, that will be useful for any style you play, and will enable you to enhance your coordination and phrasing with the instrument, in whatever musical context you are.


http://www.rdiaz.org/rdvideo166.html


Be creative and have fun!


Ruben Diaz
http://www.rdiaz.org/rdfoto4.html

I like these types of scale patterns, because they do not sound like the standard Rock and Roll, Heavy Metal, and Blues patterns that are used so frequently in electric lead guitar solos, but they certainly can be played rapidly, as you demonstrated . . .

They also appear to be easier to play than "regular" scales, which for the most part are not so useful for lead guitar solos, since "regular" scales are better suited for connecting widely spaced notes or as simple embellishments and transitions, which in some respects is a matter of the terminology I use, where I call something a "scale" when it has 8 notes per octave (for example, in the key of C, the notes of the major "scale" are {C, D, E, F, G, A, B, C}, as you know) . . .

In the same terminology I use, when a pattern has fewer than 8 notes per octave, I call it an "arpeggio", which mostly is based on the what I learned as a child when I studied piano for a while--but not very long, really--where there appeared to be two general types of sequences or series of notes:

(1) scales (which always had 8 notes per octave, or 7 notes if you do not count the ending note, which is an octave higher than the beginning note, and usually are diatonic or melodic or harmonic minor) . . .

(2) arpeggios (which never sounded like scales, otherwise why not call them "scales", and usually had noticeably fewer notes per octave than scales) . . .

Whether this technically is correct is another matter, but it is the way I relate to sequences and series of notes that are not melodies or harmonies, which (of course) are neither scales nor arpeggios, otherwise why not call them "scales" or "arpeggios" rather than "melodies" and "harmonies" . . .

So, in this terminology, there are two more categories of sequences and series of notes, which is fabulous . . .

(3) melodies (which often have more than a few notes but usually are a blend of adjacent notes like the ones in scales and of larger interval notes like the ones in arpeggios) . . .

(4) harmonies (which tend to be fewer notes than the associated melody but not always) . . .

The important bit of information or insight--which is what I like about this particular video--is the emphasis on what for me is blurring the distinction among "scales" and "arpeggios", which might make no sense to anyone other than me, but so what . . .

So what!

Curiously, the bass guitar part for the new Surf Whammys song about Angela Gossow's underpants features a phrase that is a combination of a simple scale and an arpeggio, which is heard after the third set of "I want, I want, I want" just before the "Angela Gossow's underpants" phrase, for sure . . .

"(I Want) Angela Gossow's Underpants (Ya-Ya-Ya)" (The Surf Whammys) -- MP3 (48-kHz, 275-kbps [VBR], 7.3MB)

For sure!

The Beatles did a lot of stuff like that, where the most well-known examples that come to mind are "Day Tripper", "Ticket To Ride", and "I Feel Fine", really . . .

"Day Tripper" (Beatles) -- YouTube video

"Ticket To Ride" (Beatles) -- YouTube video

"I Feel Fine" (Beatles) -- YouTube video

Really!

Stated another way, there are lot of notes in the two styles of scales that you demonstrated, and I do not immediately map them to any particular song, which for me makes it quite intriguing, since when I cannot map something to a particular song, it tends to be an opportunity to do something new with it, which is fabulous . . .

Fabulous!

P. S. This is the first time I have encountered the word "konokol", so I looked it up in Google, wikipedia, and YouTube, which are the definitive sources of all information in the known universe, which is fabulous . . .

Fabulous!

I already knew what it was by watching and listening to what you were doing, but I like to see the formal definitions in wikipedia, since there usually are references to other interesting stuff . . .

After doing a YouTube search on "konokol", I found a John McLaughlin video, where he played some stuff and explained that konokol is an Indian system for making sense of rhythms, so I listened to that for a while, and since McLaughlin ended the first example with a burst of intense whammying, I like the system . . .

Then he introduced his Indian friend, and they made strange noises for a while, which also was interesting, and now I am an expert on konokol, which was not so difficult, since I discovered it last year, although I did not give it a name . . .

Konokol (John McLaughlin and S.Ganesh Vinayakram) -- YouTube video

Basically, what I discovered last year is that you can get a LOT of mileage from notes simply by playing the strings as if they were drums, which in a very real sense makes it possible for the notes to become secondary or in some instances patently immaterial, since the rhythmic picking drives everything, which is very different from the notes and intervals driving everything with the picking being secondary . . .

I already knew the fundamental theory of rhythm decades ago from an experiment I devised to explain Joseph Schillinger's Theory of Rhythm to a few folks, and it is a fascinating experiment that is not so easy to do, even when all the people are trained musicians with keen senses of rhythms . . .

This is one way to do the experiment, where there are three people and each person claps hands in a very precise way:

(1) One person claps on 3, and this person counts to three repeatedly in their mind, clapping on 3 each time--hence, 1-2-clap-1-2-clap-1-2-clap . . .

(2) Another person claps on 4, and this person counts to four repeatedly in their mind, clapping on 4 each time--hence, 1-2-3-clap-1-2-3-clap-1-2-3-clap . . .

(3) A third person claps on 5, and this person counts to five repeatedly in their mind, clapping on 5 each time--hence, 1-2-3-4-clap-1-2-3-4-clap-1-2-3-4-clap . . .

Three very important things should become obvious after doing a few of these experiments with different numerical values for each person, for sure:

(1) The resulting rhythm is complex . . .

(2) When everyone claps at the same time, this is where the true bar or delimiter of the real measure occurs, because when everyone claps at the same time, everything is synchronized, which is the way to determine the true bar or delimiter of the real measure in the Schillinger System of Musical Composition . . .

(3) For all practical purposes, every rhythm known in any current or historical way requires no higher number than nine for counting . . .

For sure!

So, this also is very good, and it makes a LOT of sense to me . . .

One might suggest reasonably that the lead guitar solo for the Angela Gossow's underpants song is very konokol, especially since I compose lead guitar solos in real-time on the fly and do them only one time, hence have no conscious idea what I am doing with respect to notes, which tends to make picking the strings to the rhythm a great way to make virtually any sequence or series of notes sound good, in part because the mind of the listener actually does a bit of perceptual adjusting toward the goal of introducing order and logic into whatever sounds are presented, which is fabulous . . .

Fabulous!

You might need to listen to a lead guitar solo 25 to 50 times before it starts making sense, and it might be an auditory illusion when it actually begins making sense, but so what . . .

So what!

In the same way that it is impossible for a reasonably normal human being to do anything truly random, it is impossible for a well-trained musician to compose and to play anything in real-time on the fly that is truly random, so the general idea is that when Elvis looks at you; says, "Take it!"; and the spotlight moves to you, then you simply start playing whatever appears in your mind at the moment, and there you are . . .

If you smile a lot and the crowd makes enough noise, nobody can hear anything anyway, so what difference does it make, really . . .

Really!

In other words, if people can make sense of what you are doing immediately, then it probably has already been done, so for new stuff one strategy is for most of it to make nearly no sense immediately other than in a primitive rhythmic way . . .

It took me nearly three years to make sense of what the Beatles were doing in 1963, and it took me nearly half a century to make sense of what Elvis Presley was doing in 1956, but everything makes sense eventually, which is fabulous . . .

Fabulous!

[rubendiaz]

This is the video 3 of the performance with the band at the

Toronto International Flamenco Festival


http://www.rdiaz.org/rdvideo159.html



with:

Bill Mc Birnie Flute
Alex Dean Sax
Juan Pablo Dominguez Bass
Bhadra Dasi Cajon,Flamenco Dancer
Greg Gebert Guitar


photos of the concert:

http://www.rdiaz.org/rdfoto47.html

http://www.rdiaz.org/rdfoto48.html


Ruben Diaz
http://www.rdiaz.org/rdfoto4.html

http://www.rdiaz.org/rdbegining.html

[rubendiaz]

“Guitar is 90% perspiration &10% inspiration…” PDL


But this perspiration ca be as well a joyful experience!
Its like in sports, in guitar if we learn how to practice, as opposed to just what to practice, then one enjoys even the sweating, like these couple of students of mine,at The Royal Conservatory of Toronto on a lesson about how to play “remates”,chords,and rhythm in “Solea Por Buleria” style.



http://www.rdiaz.org/rdvideo172.html



Or as Miles Davis said:
“For me happiness is when I learn something…”

-never mind the sweating- (that’s me…)

So…be creative and share your creation!



Ruben Diaz
http://www.rdiaz.org/rdfoto37.html

http://www.rdiaz.org/rdfoto19.html

[rubendiaz]

The “Alzapua” or thumb technique, consist of:
P down one string,P down 2 strings, P up 3 strings. and is explained and talk about here, and is very characteristic of flamenco guitar.(beginners lesson)

http://www.rdiaz.org/rdvideo169.html

Enjoy it!


Ruben Diaz
http://www.rdiaz.org/rdfoto5.html

[rubendiaz]

Here you have an intermediate/level lesson for every player interested in technique as a tool to create music.


http://www.rdiaz.org/rdvideo171.html


and if you play a little faster here are the same examples

http://www.rdiaz.org/rdvideo161.html

http://www.rdiaz.org/rdvideo162.html



In case you don’t know the Paco De Lucia’s fingering for the minor melodic scale on this exercises, here you have that:

http://www.rdiaz.org/rdvideo105.html


Ok friends
Enjoy by playing everyday better than the day before….



Ruben Diaz
http://www.rdiaz.org/rdfoto16.html

[rubendiaz]

Here is a lesson in which I explain different postures to play flamenco guitar, Sabicas style, and the ones that Paco De Lucia
innovated, is a very interesting subject and have never been explained (in video format) previously.


http://www.rdiaz.org/rdvideo170.html


for those interested in a historical perspective and analysis of related topics, you can see here:

http://www.rdiaz.org/rdpacoart2.html


Be creative and share your creativity!

Ruben Diaz
http://www.rdiaz.org/rdfoto37.html

[rubendiaz]

How to choose a good flamenco guitar (RCM all parts/15)

January 17 2010

I feel honoured to present for the first time in the history of the classical & flamenco guitar -in video format-,this series of lessons parts of a workshop at the Royal Conservatory of Toronto, in which the subject of the characteristics & qualities that a good flamenco guitar should have were explained in detail.

As I mentioned before, I am very glad to share this knowledge with you,and I want to thank all the people that help me in this adventure, as well as for the privilege given by the Royal Conservatory of Toronto of being the first teacher in the world that explained academically this topic -in video format- according to the tenets of the Paco De Lucia’s technique & style.



Here is the part 15

http://www.rdiaz.org/rdvideo180.html



And for those who would like to watch the whole workshop/documentary

Here are all the 15 parts.


Part 1
http://www.rdiaz.org/rdvideo148.html

Part 2
http://www.rdiaz.org/rdvideo149.html

Part 3
http://www.rdiaz.org/rdvideo150.html

part 4
http://www.rdiaz.org/rdvideo151.html

Part 5
http://www.rdiaz.org/rdvideo152.html

part 6
http://www.rdiaz.org/rdvideo153.html

Part 7
http://www.rdiaz.org/rdvideo154.html

Part 8
http://www.rdiaz.org/rdvideo155.html

Part 9
http://www.rdiaz.org/rdvideo174.html

Part 10
http://www.rdiaz.org/rdvideo175.html

Part 11
http://www.rdiaz.org/rdvideo176.html

Part 12
http://www.rdiaz.org/rdvideo177.html


Part 13
http://www.rdiaz.org/rdvideo178.html

Part 14
http://www.rdiaz.org/rdvideo179.html

Part 15
http://www.rdiaz.org/rdvideo180.html


To summarize some essential factors:

1) QUALITY OF SOUND (concepts of female & male, etc.)


a) “timbre” and tone of every string
Balance
(between trebles and basses etc.)
c) Quality & age of the soundboard or top, and wood.
d) Intonation & harmonics, sustain etc.
e) Projection & response.
f) Diverse bracing patterns and the “golpe” or taping
g) different kinds of bridges, thickness & symmetric, etc.

2) PLAYABILITY



a) Bridge measurements (even distance between holes, bridge proper height etc)
Action (millimetres between 6th and 12 fret, etc)
c) Tension of the guitar while playing.



3) BEAUTY

a) Kind of varnish (how it affects the sound etc)
Colors of wood & kinds of woods traditional and beyond.



Be creative and have fun!


http://www.rdiaz.org/rdfoto37.html
Ruben Diaz