The Certainty of Uncertainty
(or) To have Uncertainty as the only one Certainty…(part two)
Certainty number 3 is about who I am…,
or
What come’s first?...
Am I a musician ?...
or
Am I a guitar player ?...
The evident thing is that playing guitar should be with the goal of making music. (which transcends any specific instrumentalist orientation)
The instrument should be taken as a vehicle or mean intended to allow us to transport ourselves and reach certain destinations or dimensions…that we can create trough any instrument we play, being therefore transported to the realms of music.
http://video.google.com/videoplay?docid=4804204383642032902&hl=es
and in min:1:00 Allan Holsworth says that the guitar is just a tool, and that he is first a musician, and then after a player etc.
Generally It’s very common to adhere to a misconception trough the gross mistake of believing that we will be better musicians by exclusively focusing in “our” instrument and or style ( like guitar trumpet, piano etc.) and by assuming with blind faith that this is the way it is…,until in the best of cases, one is able to admit his mistake and then try to rectify it (if it would present an obstacle in the attainment of his goal).
But what I am nurturing better?...
I know so many of my guitar students who just listen to guitar players…(and perhaps not even all kinds of guitar players, like electric guitar players, including other styles, for example, some fanatic & narrow minded people in the name of “classic musicians” and “classical guitar players” -I am also a classical guitar player but I disagree with them-,they criticize and despised any style that is not classic, and… we will not talk about what the word classic really means in that context... or in other words… classic for WHO?...etc, but lets at least momentarily jump over those “biter” arguments and unavoidable questions that ANY and ALL serious an intelligent guitar practitioner and/or aspirant musician & composer will have to regard and master, that is mandatory…, in order to be a real musician and not a plastic repetition of notes created by someone else… To support this view, I will quote the following video which is the first part of a fantastic documentary about Keith Jarret, there he says everything you need to know and learn about creation as opposed to playing things on a partita etc. Keith Jarrett - The Art Of Improvisation Part 1
http://www.youtube.com/watch?v=sZHfRjvpPxQ
One day Paco said to me that we should not play the guitar with the fingers but with the brain -that if we have one-... and then, we should forget about the brain and just play with the heart…)So, this colleges can only think in a guitar context, some of them they play guitar very good and that’s even worse then, because they generally take this success in playing as the “confirmation” that they are ok, and that they are achieving something valuable in music with they poor virtuosity…, one characteristic trait of this people is that, they never take the time to listen or try to understand other instruments or styles, they are too narrow minded for that, and unfortunately they are happy with they blindness which some ignorants take for “unconditional love for the guitar/or their particular instrument”…and what not…
I)
and here Chick Corea about what he learned from Miles, etc: http://www.youtube.com/watch?v=_eMynKjD3mw
II)
We already know that the great composer Chick Corea got inspired and influence from Paco De Lucia as well
Chick Corea's work specially created for Paco,
“Touchstone Suite” “Ceremony” (Tientos/Tangos)
from “Touchstone” album 1982 (Track 1) Part 2
http://www.rdiaz.org/rdvideo41.html
III)
Here in min:2:49
http://www.youtube.com/watch?v=TAVYrOdUqWw
Gill Evans say that miles created his own sound from others and blending that to HIS taste.
IV)
and that Allan Holsworth accomplished amazing innovations on the guitar by trying to approache the guitar as a Saxophone etc.
min:0:11 http://video.google.com/videoplay?docid=4804204383642032902&hl=es
and in min:1:00 he says that the guitar is just a tool etc.
V)
Here in minute 3:10 http://www.youtube.com/watch?v=sZHfRjvpPxQ
Keith Jarret says that even music does not comes from music, what to speak of any particular instrument!
VI)
when Miles Davis went to a concert of flamenco dance (compañia de Roberto Iglesias) Here in min:5:58 http://www.youtube.com/watch?v=QwiU6gmFpEI
next day he started the project of recording Sketches Of Spain in this record is the very first record of authentic Flamenco Jazz fusion, and it inspired and guide even Paco’s works as an arranger and as a composer to learn more about this in detail please visit: http://www.rdiaz.org/rdpacoart2.html
………………………………………………………………….
All this shows and illustrates how important it is to listen to other instruments and styles.
Some friend taught me this that: “Be careful that what you write does not offend anybody or cause problems... The safest approach is to remove all useful information.”
Therefore
I want to clarify that my only interest in writing this articles is to correct and instruct mainly my own personal students, including as well, any musician and/or guitar player that thinks he or she can learn something about guitar or music & composition from me.(not the ones that are just pretending to follow me or Paco, and are just making a show)what I am teaching here is what Paco taught me long time ago and, I am still learning from and trough this concepts, and valuable advises every hour that I play. So this is about personal conviction…you know that I follow Paco’s line,I am used to my ways, I am old dog, and, old dogs does not learn new tricks…hence I don’t need to convince anyone about Paco’s views and Ideas, in the case you don’t agree with me or with him, I respect that, neither I am interested in arguing…arguing is for people that have doubts, and I don’t have, so forgive my straightforwardness and lets continue with the exposition as it is ,I just wanted to make a “disclaim” in order to avoid eventual misunderstandings.
To exemplify how we do not learn stuff but through it, I will tell you as an example that: generally people don't derive any benefit by playing Paco's stuff because of the wrong approach to Him. First we should know what we or, better, I specifically want to achieve by studying or practicing the Paco De Lucia falsetas(small melodically parts). I often correct some of my students whom I see wandering without any specific goal in mind while emulating, or trying to play different falsetas endlessly arriving nowhere. To illustrate and considering worthy for aspiring candidates to play guitar(on any style) as best as you can, as well as to factually explore all of your potential through Paco's teachings, I feel inspired to share this treasure of advices that Paco himself gave me long time ago:
One day I said to Paco that:
"people say that actually there is no meaning in trying to play your stuff because no one person can play like you ,and that it is better to try to do "original" stuff rather than trying to play Paco’s music. He laugh a lot of my ignorant remark and, then, he became very grave and serious and said that really speaking those were a complete nonsense arguments and he said that this is said just to justify laziness; then I asked that what would be the proper approach to his repertory ?, and he answered that:
“THE IMPORTANT THING IS TO FIRST GO THROUGH THE FIRE OF TRYING TO REALLY ASSIMILATE AND UNDERSTAND MY(Paco’s music)MUSIC, NOT SUPERFICIALLY, BUT HOLISTICALLY AND THOROUGHLY, CONSIDERING ALL ASPECTS LIKE HISTORICAL PERIOD WE ARE LIVING IN ETC.
NAMELY:
TO KNOW WHAT IS MANUEL DE FALLA'S CONTRIBUTION ,ETC, AS FAR AS THE EVOLUTION OF THE SPANISH MUSIC IS CONCERNED, AND TO ALSO KNOW THE CONTEXT OF HIS (Paco's)CONTRIBUTIONS IN CO-RELATION TO THE IMPLEMENTATION OF OTHER "foreign elements" WHICH HE BROUGHT TO THE FLAMENCO GUITAR DESPITE THE BIG OPPOSITION THAT THE RETROGRADE TRADITIONALS as he called them PRESENTED TO HIM AND HAVING THUS PAID THE HIGH PRICE OF BEING DESPISED AND LABELED AS NOT PURE FLAMENCO ETC. HE SAID HE HAS TO DECLARE WAR TO THESE FELLOWS WHO STILL TODAY DON'T AGREE WITH HIS IDEAS ETC.”
I then said that could you please elaborate more on this and then he answered that:
“THIS MEANS THE JAZZ SCALES AND AESTHETIC APPROACHES THAT THIS FUSSION OF ELEMENTS CAN BRING ABOUT HARMONICALLY ETC. TO THE FLAMENCO MUSIC WHICH RESULT IN THE ACTUAL EVOLUTION AND INNOVATION HE BROUGHT TO THE HISTORY OF THE GUITAR AND, NOT ONLY OF THE GUITAR BUT RATHER TO THE HISTORY OF MUSIC AND COMPOSITION OF FUSION MUSIC, IN THIS PLANET, then he said that:
WHEN YOU CAN DIGEST AND ASSIMILATE ALL THIS THINGS WHOLEHEARTEDLY ,THEN AND ONLY THEN , YOU WILL UNDERSTAND MY MUSIC AND ONLY THEN MAYBE…IF YOU ARE LUCKY ENOUGH, YOU WILL FIND YOUR OWN VOICE IN THE GUITAR THROUGH ME, BEING NURTURED BY MY CONTRIBUTION AS A MEDIUM TO DISCOVER WHO YOU ARE ..”
From that day on I realized how wrong I was, and why obviously the robotic learning does not work at all. Actually, it is worst than not having an iota of knowledge, because one can start believing that one knows when actually one doesn't. So, I decided that from that day on, I will do my best 100% effort to understand and accomplish what Paco said that day to me…and I would like to inspire you all, with this priceless knowledge and teachings of Paco De Lucia.
(to be continued…)
Friday, October 30, 2009
Thursday, October 29, 2009
Flamenco guitar lessons Toronto (4) Paco de Lucia's tangos “La Estiba”
Paco de Lucia's tangos
“La Estiba” from “Paco de Lucia, John McLaughlin and Al di Meola” album (Track 1) I hope you enjoy it!
http://www.rdiaz.org/rdvideo22.html
http://www.rdiaz.org/rdvideo23.html
and
some precious moments
http://www.rdiaz.org/rdfoto5.html
http://www.rdiaz.org/rdfoto16.html
http://www.rdiaz.org/rdfoto23.html
“La Estiba” from “Paco de Lucia, John McLaughlin and Al di Meola” album (Track 1) I hope you enjoy it!
http://www.rdiaz.org/rdvideo22.html
http://www.rdiaz.org/rdvideo23.html
and
some precious moments
http://www.rdiaz.org/rdfoto5.html
http://www.rdiaz.org/rdfoto16.html
http://www.rdiaz.org/rdfoto23.html
Flamenco guitar lessons Toronto (3) Rumba Manteca Colora
Art results not when there is nothing that can be added, but when there is nothing that can be taken away…………......
Here I share with you to enjoy and learn ,the groove of this beautiful Rumba ,of the album Luzia track 6. by Paco de Lucia.
http://www.rdiaz.org/rdvideo18.html
http://www.rdiaz.org/rdvideo19.html
Your friend
Ruben Diaz.
info@rdiaz.org
Here I share with you to enjoy and learn ,the groove of this beautiful Rumba ,of the album Luzia track 6. by Paco de Lucia.
http://www.rdiaz.org/rdvideo18.html
http://www.rdiaz.org/rdvideo19.html
Your friend
Ruben Diaz.
info@rdiaz.org
"El Chorruelo" bulerias by Paco de Lucia Track 7 from "Luzia" Album
"El Chorruelo" bulerias by Paco de Lucia Track 7 from "Luzia" Album
Falsetas 1 to 3
http://www.rdiaz.org/rdvideo11.html
Falsetas 4 to 6
http://www.rdiaz.org/rdvideo12.html
Falseta 7
http://www.rdiaz.org/rdvideo13.html
http://www.rdiaz.org/rdvideo12.html
Falseta 8
http://www.rdiaz.org/rdvideo14.html
Falseta 9
http://www.rdiaz.org/rdvideo15.html
Best regards
Falsetas 1 to 3
http://www.rdiaz.org/rdvideo11.html
Falsetas 4 to 6
http://www.rdiaz.org/rdvideo12.html
Falseta 7
http://www.rdiaz.org/rdvideo13.html
http://www.rdiaz.org/rdvideo12.html
Falseta 8
http://www.rdiaz.org/rdvideo14.html
Falseta 9
http://www.rdiaz.org/rdvideo15.html
Best regards
Flamenco guitar lessons Toronto (2) compass of buleria
This is a lesson on how to play the compass of buleria, the most characteristic style in flamenco –is for beginners- so everyone can try and get a gipsy flavour with it!
http://www.rdiaz.org/rdvideo48.html
Art is the work of a person, a human being, who is free to take into himself what he sees outside and from his free center put his human stamp on it.
enjoy the lesson!
info@rdiaz.org
http://www.rdiaz.org/rdvideo48.html
Art is the work of a person, a human being, who is free to take into himself what he sees outside and from his free center put his human stamp on it.
enjoy the lesson!
info@rdiaz.org
Flamenco guitar lesson Toronto (remates 1)
Here is a nice lesson for intermediate level, on the Paco De Lucia’s technique.
http://www.rdiaz.org/rdvideo87.html
and with this soundtrack you can play at home and practice the different remates (end of phrase)
http://www.rdiaz.org/rdvideo88.html
I hope you enjoy it!
your friend
info@rdiaz.org
http://www.rdiaz.org/rdvideo87.html
and with this soundtrack you can play at home and practice the different remates (end of phrase)
http://www.rdiaz.org/rdvideo88.html
I hope you enjoy it!
your friend
info@rdiaz.org
Flamenco guitar lessons Toronto (1) A B C of Flamenco Rumba
A B C of Flamenco Rumba
This is for ALL guitar players who like to learn the A B C of Flamenco Rumba, just need a nylon string guitar...enjoy it!
http://www.rdiaz.org/rdvideo51.html
http://www.rdiaz.org/rdvideo61.html
info@rdiaz.org
This is for ALL guitar players who like to learn the A B C of Flamenco Rumba, just need a nylon string guitar...enjoy it!
http://www.rdiaz.org/rdvideo51.html
http://www.rdiaz.org/rdvideo61.html
info@rdiaz.org
Are we just wandering without a clear goal in our practice ?
Are we just wandering without a clear goal in our practice ?
(Part1)
When we say the word practice, we recall a variety of images and feelings, some immediately think of being seated with the metronome and just play finger exercises mechanically, some times more of a punishment than a musical experience, for some practice is a way to escape from the painful aspects of life, for others rather an overflow of joy and creative dynamical experience like a kind of meditation.
The fact is that practicing is a challenge to our physical, mental and emotional being.
Some days we feel comfortable with the guitar, others we may feel stiff and uncoordinated, one minute a phrase flows smoothly, and the next second it suddenly falls apart.
So along with the practice often we experience tension and, frustration, some times even injuries…
So to free oneself from physical and emotional tension as we practice so that we can explore our full potential 100%, and
to diagnose or assess our current stage with the guitar, I invite any serious candidate to sincerely answer all of this questions one by one trying to explain as far as he/she can, this will help to clarify and ascertain our present situation with the instrument, leading to a brighter future if we decide so!
Questionnaire:
1)Is it an art to practice as well…?, or just to play, is the art…?
(yes or no, and why)
2) Are we unleashing and clearly expanding our innate musical talents 100 %…?,up to which percent I think I am being developing my technique…? (for example 30% etc) (answer yes or no, and why)
3) Am I fighting with the ghost of an unstable mind…,and/or with that deadly monster named lack of goal…?(yes or no, and how?)
4) What’s our short term goal? ( in technique for ex.)
5) What’s our long term goal? ( in technique for ex.)
6) Are we enthusiastic to learn more…?or we are used to our technical mediocrity in the name of that’s how “I” play…?
(yes or no, and why?)
7) Do we give room to ourselves to relax while we practice…?(yes or no, why and how?)
8) Of what does I think it depends success in my guitar practice…?(why)
9) Does it have something to do with how I sleep the previous night…?, or of what I ate the day before…?,(yes or no, and why?)
10) Does it depend on the posture while playing…?(yes or no, and why or how?)
11) Or maybe it depends on the environment, like on how is settled the room in which we practice…?(yes or no, and why?)
12) Does it depend on proper breathing as well…?(yes or no, and why?)
13) Is it the time in the day or night, that I choose to practice that matters…?(yes or no, and why?)
14) Or is it that we do not even have a fixed hour to nurture our expontaneous discipline, or our disciplined expontaniety of practicing…?(yes or no, and how?)
15) But wait …do we even have discipline…?(yes or no, and why?)
16) Or expontaniety in practicing…? (yes or no, and why?)
17) Do we Know first of all what’s the meaning of this words…?(yes or no, say meaning)
18) Do I follow a routine…?(yes or no, why and how)
19) Or the routine of inertia with our instrument follows me…?(yes or no, why and how?)
20) Why is it that I can not go on steady even for a week or two continuously and conscientiously on a healthy program of practice without failures, flaws and setbacks…?
21) Can I follow with fixity same amount of practice daily (ex. one hour of scales) (yes or no, and why?)
22) Am I practicing one day three hours, two days nothing etc. in this way irregularly…?(yes or no, and why?)
23)Do I feel sometimes bored, or even sleepy while practicing…?(yes or no, and why?)
24) Is it fault of my teacher maybe…?(yes or no, and how?)
25) Or rather I would prefer to not ask any of this questions…and live “happily”…? (yes or no, and why?)
26) Do I worry much about the past or future mentally while practicing…?(yes or no, and why this happens?)
27) Are we really present when we practice guitar…?(yes or no, and why?)
28) Or is it that only the gross body is present, and the mind is wandering here and there aimlessly…?(yes or no, and why?)
29) Can we really focus at all when we practice…?(yes or no, and why?)
30) Do I consider mandatory that I regard this questions in order to improve…?(yes or no, and why?)
31) Should I rather continue as I have been until now…?(yes or no, and why?)
32) Do I experience the (roller coaster of) irregular unsteady and unfruitful way of practicing…?(yes or no, and how?)
33) Do I believe that I can accomplish this venture of practicing properly without an expert guide…?(yes or no, and why?)
34) Do I want to continue being a victim of my own indifference regarding how I practice…?(yes or no, and why?)
35) Do I desire to become more causative and less effect in my guitar practice…?(yes or no, and why?)
…………………………………………………………………..
End of the first part of the article.(advises will be given in parts 2 and 3 of this same article!)for now
If you are inspired to better in your guitar practice,
you are invited to send your answered questionnaire
(Part1)
When we say the word practice, we recall a variety of images and feelings, some immediately think of being seated with the metronome and just play finger exercises mechanically, some times more of a punishment than a musical experience, for some practice is a way to escape from the painful aspects of life, for others rather an overflow of joy and creative dynamical experience like a kind of meditation.
The fact is that practicing is a challenge to our physical, mental and emotional being.
Some days we feel comfortable with the guitar, others we may feel stiff and uncoordinated, one minute a phrase flows smoothly, and the next second it suddenly falls apart.
So along with the practice often we experience tension and, frustration, some times even injuries…
So to free oneself from physical and emotional tension as we practice so that we can explore our full potential 100%, and
to diagnose or assess our current stage with the guitar, I invite any serious candidate to sincerely answer all of this questions one by one trying to explain as far as he/she can, this will help to clarify and ascertain our present situation with the instrument, leading to a brighter future if we decide so!
Questionnaire:
1)Is it an art to practice as well…?, or just to play, is the art…?
(yes or no, and why)
2) Are we unleashing and clearly expanding our innate musical talents 100 %…?,up to which percent I think I am being developing my technique…? (for example 30% etc) (answer yes or no, and why)
3) Am I fighting with the ghost of an unstable mind…,and/or with that deadly monster named lack of goal…?(yes or no, and how?)
4) What’s our short term goal? ( in technique for ex.)
5) What’s our long term goal? ( in technique for ex.)
6) Are we enthusiastic to learn more…?or we are used to our technical mediocrity in the name of that’s how “I” play…?
(yes or no, and why?)
7) Do we give room to ourselves to relax while we practice…?(yes or no, why and how?)
8) Of what does I think it depends success in my guitar practice…?(why)
9) Does it have something to do with how I sleep the previous night…?, or of what I ate the day before…?,(yes or no, and why?)
10) Does it depend on the posture while playing…?(yes or no, and why or how?)
11) Or maybe it depends on the environment, like on how is settled the room in which we practice…?(yes or no, and why?)
12) Does it depend on proper breathing as well…?(yes or no, and why?)
13) Is it the time in the day or night, that I choose to practice that matters…?(yes or no, and why?)
14) Or is it that we do not even have a fixed hour to nurture our expontaneous discipline, or our disciplined expontaniety of practicing…?(yes or no, and how?)
15) But wait …do we even have discipline…?(yes or no, and why?)
16) Or expontaniety in practicing…? (yes or no, and why?)
17) Do we Know first of all what’s the meaning of this words…?(yes or no, say meaning)
18) Do I follow a routine…?(yes or no, why and how)
19) Or the routine of inertia with our instrument follows me…?(yes or no, why and how?)
20) Why is it that I can not go on steady even for a week or two continuously and conscientiously on a healthy program of practice without failures, flaws and setbacks…?
21) Can I follow with fixity same amount of practice daily (ex. one hour of scales) (yes or no, and why?)
22) Am I practicing one day three hours, two days nothing etc. in this way irregularly…?(yes or no, and why?)
23)Do I feel sometimes bored, or even sleepy while practicing…?(yes or no, and why?)
24) Is it fault of my teacher maybe…?(yes or no, and how?)
25) Or rather I would prefer to not ask any of this questions…and live “happily”…? (yes or no, and why?)
26) Do I worry much about the past or future mentally while practicing…?(yes or no, and why this happens?)
27) Are we really present when we practice guitar…?(yes or no, and why?)
28) Or is it that only the gross body is present, and the mind is wandering here and there aimlessly…?(yes or no, and why?)
29) Can we really focus at all when we practice…?(yes or no, and why?)
30) Do I consider mandatory that I regard this questions in order to improve…?(yes or no, and why?)
31) Should I rather continue as I have been until now…?(yes or no, and why?)
32) Do I experience the (roller coaster of) irregular unsteady and unfruitful way of practicing…?(yes or no, and how?)
33) Do I believe that I can accomplish this venture of practicing properly without an expert guide…?(yes or no, and why?)
34) Do I want to continue being a victim of my own indifference regarding how I practice…?(yes or no, and why?)
35) Do I desire to become more causative and less effect in my guitar practice…?(yes or no, and why?)
…………………………………………………………………..
End of the first part of the article.(advises will be given in parts 2 and 3 of this same article!)for now
If you are inspired to better in your guitar practice,
you are invited to send your answered questionnaire
Toronto Guitar lessons “Do it yourself ” does it really work on guitar learning?, and if so, how far can I go?...
To learn guitar seems a mysterious issue… some times, others it remains a mystery forever…
Tips & advices on guitar practice
I would like to share with you my personal experience with guitar students, some time ago, one guy came to the Royal Conservatory of Toronto and said:
“I see your video lessons on your YouTube channel for months http://www.youtube.com/user/rdiazflamencojazz
http://www.rdiaz.org/rdwebcam.html
more that 100 lessons there, and I love them all, its just that… I don’t know HOW to really harness all this information to really assimilate and digest all these different styles rasgueos etc that you explain in your videos, so I came to you because I want to learn:
1) How to practice, that is, with what precisely I have to start.
2) What is that I need to improve, I mean what I need for the repertory that I desire to play.
3) I also want to learn to notice if I am practicing right because, look… I went tired of no one checking what I am doing, and now I don’t feel like growing in my guitar playing at all, I feel I know many disconnected stuff about wide variety of subjects, too many things, but I ignore how to really use & organize all this and put it into practice, I need you to give me a structure way to practice guitar, you know what I mean?...”
Immediately came to my mind Paco saying to me “Ruben…one does not play guitar with the hands…one plays with the brain if he has one…,and then after one should play with the heart forgetting all about the brain.” precious advise…this guy had a brain, was very smart and enthusiastic, I feel so inspired.(this is imo the ideal way to approach the learning process.)
I was very impressed by this guy (nowadays he is making a lot of progress on the guitar, sometimes he accompany me in my band, and even played in one track of my new record “Andalusian Flavor” you can listen 2 tracks of this album here in HQ
(take one minute to load): http://www.rdiaz.org/recordsincanada.html
I was awestruck because until then very few persons have asked me something like this…,I realized thanks to this student inquiries that, the teacher is like a doctor who diagnoses the patient and gives a prescription for the medicines that the patient will take and, also indicates how much pills ,and when to take them, how many times a day etc.
We can not go to the drugstore and say “Ok, I think this medicine will be good for me, and…I also like that one with the green bottle…give me two of this, three of that etc…”
just imagine that, Its creasy, can actually be of fatal consequences…,so with all the information that is available online, with hundreds of different video lessons, books etc, in other words encouragement tools & agents of the “Do it yourself philosophy” that as you know…, does not always work smoothly or nicely, there is a big confusion when the public have more information that what they can really assimilate and bring to practice, I see many friends and new students wandering “should I do this?, or…rather should I try that?” they generally go on like this for years, and then maybe they realized all the time they have lost, so to administer the proper “dosage” so that we get the desired results on guitar playing, its essential that we have the proper PERSONAL and expert guidance ,because everyone is different, and need a different speed to work with the metronome for example if he/she wants to improve in scales etc, we can not follow or settle general parameters, because what applies to some may not apply to others etc.
So the thing is that:
I) How much of the information I have available can I really apply to my guitar playing to build something significant in my musical career?
II) How can I end once for all with this going around wandering and loosing time like anything in guitar learning finally getting nowhere, after trying many different “medicines” by self prescription without getting any noticeable result?
III) Regarding the “do it yourself philosophy”
How far I can go with that?...
So as you see, there are many details to become aware of, of course I clarify that I am not saying that this is the absolute truth and that’s all, rather I am talking about my own personal experience with the guitar, so perhaps it’s only valid for me, but if any of these advices can help you to become a better player somehow or other, then I will be happy that I helped in some way to your guitarristic progress. In guitar learning I don’t believe in the “do it yourself philosophy” (I mean to reach excellence with the instrument)because I have seen friends and guitar students for 25 years wandering, following a mixture of 2 million different views, opinions, speculations and advices, as if everyone would have the same authority or knowledge, and, of course, they end up reaching nowhere on the guitar themselves,that’s why I don’t believe on this “do it yourself philosophy”… at least on guitar I don’t think you can reach very far through this.
Even Paco says here in this video http://www.youtube.com/watch?v=Ofn3Y5GyPKs
minute:1:36,that he inquired from John Mc Laughlin & Al Di Meola on how to improvise, and thereafter when he discover that he enjoy it etc, and that they laugh and could not believe he (Paco)did not know!...so from Paco’s own personal example, we can learn that:
When he wanted to know about something, he did not thought that “Oh,I am the genius Paco De Lucia, and I don’t need any teacher…, I can find out myself”(even if paradoxically he end it up learning that by “himself”!) -opposite to the “Do it yourself” philosophy- he did addressed the musical authorities on improvisation, namely John Mc Laughlin & Al Di Meola and straightforwardly ask them to teach him how to improvise.
In fact he always discourages this philosophy of “Do it yourself”, and rather promote, and advise me and others to go for the method of acquiring knowledge from the proper source, and being therefore guided and supervised by an EXPERT, then and, only then one can achieve success on the otherwise fathomless mysteries of the guitar as an instrument, and keep things simple like that.
In fact if you think… there is no knowledge which we have not acquire from an external source (besides some instinctive assets which we share with the animal kingdom) everything we know, from the languish to the way we think we have learned (consciously or unconsciously)from someone.
For me, learning guitar is like flying and airplane. Imagine what would happened if I try to learn to pilot and airplane on my own, or by getting some data I read in the internet as well as opinions of people that are not a pilots themselves but people that offer their cheap advices, and pose themselves as an experienced pilots; what would happen if I do not learn to pilot the airplane from a person that really is a teacher-pilot himself and knows how to fly?... Later on in time hopefully, when one masters the guitar really, when I will know how to pilot, then I can fly on my own, not otherwise.
I invite everyone to convey his/her opinion on this subject, for I enjoy from listening & learning from different angles and perspectives, so please feel free to share your experience & wisdom on the topic.
Thanks
your friend
Ruben Diaz
info@rdiaz.org
Tips & advices on guitar practice
I would like to share with you my personal experience with guitar students, some time ago, one guy came to the Royal Conservatory of Toronto and said:
“I see your video lessons on your YouTube channel for months http://www.youtube.com/user/rdiazflamencojazz
http://www.rdiaz.org/rdwebcam.html
more that 100 lessons there, and I love them all, its just that… I don’t know HOW to really harness all this information to really assimilate and digest all these different styles rasgueos etc that you explain in your videos, so I came to you because I want to learn:
1) How to practice, that is, with what precisely I have to start.
2) What is that I need to improve, I mean what I need for the repertory that I desire to play.
3) I also want to learn to notice if I am practicing right because, look… I went tired of no one checking what I am doing, and now I don’t feel like growing in my guitar playing at all, I feel I know many disconnected stuff about wide variety of subjects, too many things, but I ignore how to really use & organize all this and put it into practice, I need you to give me a structure way to practice guitar, you know what I mean?...”
Immediately came to my mind Paco saying to me “Ruben…one does not play guitar with the hands…one plays with the brain if he has one…,and then after one should play with the heart forgetting all about the brain.” precious advise…this guy had a brain, was very smart and enthusiastic, I feel so inspired.(this is imo the ideal way to approach the learning process.)
I was very impressed by this guy (nowadays he is making a lot of progress on the guitar, sometimes he accompany me in my band, and even played in one track of my new record “Andalusian Flavor” you can listen 2 tracks of this album here in HQ
(take one minute to load): http://www.rdiaz.org/recordsincanada.html
I was awestruck because until then very few persons have asked me something like this…,I realized thanks to this student inquiries that, the teacher is like a doctor who diagnoses the patient and gives a prescription for the medicines that the patient will take and, also indicates how much pills ,and when to take them, how many times a day etc.
We can not go to the drugstore and say “Ok, I think this medicine will be good for me, and…I also like that one with the green bottle…give me two of this, three of that etc…”
just imagine that, Its creasy, can actually be of fatal consequences…,so with all the information that is available online, with hundreds of different video lessons, books etc, in other words encouragement tools & agents of the “Do it yourself philosophy” that as you know…, does not always work smoothly or nicely, there is a big confusion when the public have more information that what they can really assimilate and bring to practice, I see many friends and new students wandering “should I do this?, or…rather should I try that?” they generally go on like this for years, and then maybe they realized all the time they have lost, so to administer the proper “dosage” so that we get the desired results on guitar playing, its essential that we have the proper PERSONAL and expert guidance ,because everyone is different, and need a different speed to work with the metronome for example if he/she wants to improve in scales etc, we can not follow or settle general parameters, because what applies to some may not apply to others etc.
So the thing is that:
I) How much of the information I have available can I really apply to my guitar playing to build something significant in my musical career?
II) How can I end once for all with this going around wandering and loosing time like anything in guitar learning finally getting nowhere, after trying many different “medicines” by self prescription without getting any noticeable result?
III) Regarding the “do it yourself philosophy”
How far I can go with that?...
So as you see, there are many details to become aware of, of course I clarify that I am not saying that this is the absolute truth and that’s all, rather I am talking about my own personal experience with the guitar, so perhaps it’s only valid for me, but if any of these advices can help you to become a better player somehow or other, then I will be happy that I helped in some way to your guitarristic progress. In guitar learning I don’t believe in the “do it yourself philosophy” (I mean to reach excellence with the instrument)because I have seen friends and guitar students for 25 years wandering, following a mixture of 2 million different views, opinions, speculations and advices, as if everyone would have the same authority or knowledge, and, of course, they end up reaching nowhere on the guitar themselves,that’s why I don’t believe on this “do it yourself philosophy”… at least on guitar I don’t think you can reach very far through this.
Even Paco says here in this video http://www.youtube.com/watch?v=Ofn3Y5GyPKs
minute:1:36,that he inquired from John Mc Laughlin & Al Di Meola on how to improvise, and thereafter when he discover that he enjoy it etc, and that they laugh and could not believe he (Paco)did not know!...so from Paco’s own personal example, we can learn that:
When he wanted to know about something, he did not thought that “Oh,I am the genius Paco De Lucia, and I don’t need any teacher…, I can find out myself”(even if paradoxically he end it up learning that by “himself”!) -opposite to the “Do it yourself” philosophy- he did addressed the musical authorities on improvisation, namely John Mc Laughlin & Al Di Meola and straightforwardly ask them to teach him how to improvise.
In fact he always discourages this philosophy of “Do it yourself”, and rather promote, and advise me and others to go for the method of acquiring knowledge from the proper source, and being therefore guided and supervised by an EXPERT, then and, only then one can achieve success on the otherwise fathomless mysteries of the guitar as an instrument, and keep things simple like that.
In fact if you think… there is no knowledge which we have not acquire from an external source (besides some instinctive assets which we share with the animal kingdom) everything we know, from the languish to the way we think we have learned (consciously or unconsciously)from someone.
For me, learning guitar is like flying and airplane. Imagine what would happened if I try to learn to pilot and airplane on my own, or by getting some data I read in the internet as well as opinions of people that are not a pilots themselves but people that offer their cheap advices, and pose themselves as an experienced pilots; what would happen if I do not learn to pilot the airplane from a person that really is a teacher-pilot himself and knows how to fly?... Later on in time hopefully, when one masters the guitar really, when I will know how to pilot, then I can fly on my own, not otherwise.
I invite everyone to convey his/her opinion on this subject, for I enjoy from listening & learning from different angles and perspectives, so please feel free to share your experience & wisdom on the topic.
Thanks
your friend
Ruben Diaz
info@rdiaz.org
Guitar lessons Toronto (RCM & more than 100 free video lessons)
http://www.rdiaz.org/rdwebcam.html
Here you can find more than 100 video guitar lessons on different subjects.
1) http://www.rdiaz.org/rd-PDLbeginners.html
2) http://www.rdiaz.org/rd-PDLintermediate.html
3) http://www.rdiaz.org/rd-PDLadvanced.html
4) http://www.rdiaz.org/rd-PDL-all-instruments-beginners.html
5) http://www.rdiaz.org/rd-PDL-all-instruments-intermediate.html6) http://www.rdiaz.org/rd-PDL-all-instruments-advanced.html
7) http://www.rdiaz.org/rd-pacorep.html
8) http://www.rdiaz.org/rd-paco-camaronrep.html
9) http://www.rdiaz.org/rd-triorep.html
10) http://www.rdiaz.org/rd-rubenrep.html
11) My YouTube channel http://www.youtube.com/user/rdiazflamencojazz
12) The article about Pacos contributions on guitar. http://rdiaz.org/rdpacoart.html
13) Here you can listen 2 audio HQ tracks of my last album 2009 http://rdiaz.org/recordsincanada.html
14) Video on live performance http://www.youtube.com/watch?v=pzBA_qQpZqI
15) This is a rehearsal of my new band http://rdiaz.org/rdvideo103.html
http://rdiaz.org/rdvideo102.html
………………………………………………………..
This is the official web site of Andalusian Guitars
the guitars that I play:
http://www.andalusiang.com/eninicioag.html
Here you can read about the Revolution of Paco De Lucia on guitar historically ( and about this female/male concepts) http://www.andalusiang.com/enrevolutionpacoag.html
here you can see some nice articles
http://guitarfoundation.org/drupal/node/4892
http://guitarfoundation.org/drupal/node/5066
http://guitarfoundation.org/drupal/node/5008
http://guitarfoundation.org/drupal/node/4929
I hope you will enjoy it!
Ruben Diaz
info@rdiaz.org
Here you can find more than 100 video guitar lessons on different subjects.
1) http://www.rdiaz.org/rd-PDLbeginners.html
2) http://www.rdiaz.org/rd-PDLintermediate.html
3) http://www.rdiaz.org/rd-PDLadvanced.html
4) http://www.rdiaz.org/rd-PDL-all-instruments-beginners.html
5) http://www.rdiaz.org/rd-PDL-all-instruments-intermediate.html6) http://www.rdiaz.org/rd-PDL-all-instruments-advanced.html
7) http://www.rdiaz.org/rd-pacorep.html
8) http://www.rdiaz.org/rd-paco-camaronrep.html
9) http://www.rdiaz.org/rd-triorep.html
10) http://www.rdiaz.org/rd-rubenrep.html
11) My YouTube channel http://www.youtube.com/user/rdiazflamencojazz
12) The article about Pacos contributions on guitar. http://rdiaz.org/rdpacoart.html
13) Here you can listen 2 audio HQ tracks of my last album 2009 http://rdiaz.org/recordsincanada.html
14) Video on live performance http://www.youtube.com/watch?v=pzBA_qQpZqI
15) This is a rehearsal of my new band http://rdiaz.org/rdvideo103.html
http://rdiaz.org/rdvideo102.html
………………………………………………………..
This is the official web site of Andalusian Guitars
the guitars that I play:
http://www.andalusiang.com/eninicioag.html
Here you can read about the Revolution of Paco De Lucia on guitar historically ( and about this female/male concepts) http://www.andalusiang.com/enrevolutionpacoag.html
here you can see some nice articles
http://guitarfoundation.org/drupal/node/4892
http://guitarfoundation.org/drupal/node/5066
http://guitarfoundation.org/drupal/node/5008
http://guitarfoundation.org/drupal/node/4929
I hope you will enjoy it!
Ruben Diaz
info@rdiaz.org
The Certainty of Uncertainty
The Certainty of Uncertainty
(or) To have Uncertainty as the only one Certainty…(part one)
Prof. Ruben Diaz, Ph.D. Contemporary Harmony and Composition
Can a human being live without any certainty?...
Is not true that without some sort of certainty we lose all sense of structure and enthusiasm in what we do?...
For some the only certainty is to be uncertain (about what they want to achieve, or for example, to which are their long and short term goals with the guitar.)
So would that be Ok?...
At least that’s also a kind of “certainty”…
What does it mean certainty?...,and how does this concept would ever apply to our process of learning guitar?...
According to the Oxford Dictionary certainty means:
ORIGIN Latin certus ‘settled, sure’.
• noun (pl. certainties) 1 the quality or state of being certain. 2 a fact that is true or an event that is definitely going to take place.
Certain:
• adjective 1 able to be relied on to happen or be the case. 2 completely convinced of something. 3 specific but not explicitly named or stated.
To not underestimate the importance of certainty in our guitar path, lets start by examining the crucial need of certainty, in even the most trivial things of our daily life like, for example lets talk of buying some apples in the supermarket.
In order to accomplish this task appropriately I have to have certainty on many things like:
1)I should have certainty about what is an apple,(how does it looks like ,its shape ,size ,colors ,etc)
2)In the same way I should have also certainty about what is not an apple.(otherwise I could get a similar fruit for an apple!)
3)Then I should have certainty about where apples are being selled(namely at the supermarket)
4)Then I should have certainty about what is the supermarket exact address.
5) Then I should have certainty about whether if I have money enough or not to buy the apples…
6) Then I should have certainty about how can I get there, (if I don’t want to lose much time), I need to Know the possible short cuts if there are short cuts at all and, if I will take either the subway, bus, or the car, what difference does it makes…etc.
7) Then I should have certainty about the exact hour at which the supermarket will close…
All of this certainties I need to have, and if ANY of these is missing, I may not be able to accomplish my task, of buying the apples.
So if that many certainties are needed to do such a simple thing as buying apples…then what to speak of the certainty we need to become fully successful on our guitar path.
I think it makes sense all of this, and to be able to convey this advises I am giving now(mainly to my personal students as well as to anyone that will derive a tangible benefit from these articles on guitar related topics that I am writing) I will speak of my own experience with the guitar in the 25 years or so that I have being trying to learn how to play and compose(according to Paco De Lucias method)
I) Principle number 1 is certainty about what EXACTLY is my goal.(this applies EVERY TIME I PLAY.)
(the example I will present is as follows: suppose that I go to a car race competition, and if my goal or purpose is to lose, and then if I win…is that a failure or a success?...it is a failure, because my purpose was not to win.
So certainty number 1 is of paramount importance!
We can ask sincerely to ourselves how often we “play”(must of the time the guitar plays with us!, instead of we playing the guitar…) or even “practice” on a daily basis without having but a vague and foggy idea of what we do really want to accomplish, (it can help to read and answer this:)
http://www.guitarfoundation.org/drupal/node/4929
(say, if you are practicing scale patterns or fingerings, WHY you are doing so?, what is the purpose?... for example it can be to increase speed, or may be because I want to learn to improvise melodic lines articulately, or perhaps, what I want is to improve a phrase on a particular passage for an specific piece, or it can be that I do have nice speed already but, my sound is a little skinny, and I desire to make it become more powerful!,etc.
You see… all of these different reasons WHY I may be practicing scales are there…and how can it be beneficial to just do practice scales without knowing WHY I am doing it?
Generally, in the best of cases we fell pray to automatism!, and (according to Dr. Paco De Lucia)that will be very detrimental to our progress unless our goal is to waste time!...(remember…like in the car race example).
II) Certainty number 2 is about HOW I will reach my chosen destination?...means trough which method or way I will be able to fulfil my purpose?...can I do it myself without an expert guidance?...
In my own personal experience, I admit that I personally never tried to learn without a person who teaches me, -not how to play guitar-, but HOW TO LEARN to grasp in its completeness the whole issue of what it is required to learn to play guitar…
(including WHY should I accept an specific teacher… and why I should follow his line instead of others lines or methods… which are the qualifications of a real guitar or music teacher…in other words who is a true teacher…and how can I discriminate between proper and improper approaches in guitar -technically and in all respects- what actually is a true student of guitar…and if am I qualified myself to be a real student?...etc.)
And I will also say, that I never witnessed of any guitar player achieving success or a really high status in guitar performance or as a composer trough this “Do it yourself” philosophy except for my own preceptor Paco De Lucia…
Some reasons that discourage oneself to dare to artificially imitate Paco, this genius self-taught, were presented here: http://www.rdiaz.org/rdpacoart8.html
Even Paco says here in this video http://www.youtube.com/watch?v=Ofn3Y5GyPKs
minute:1:36,that he inquired from John Mc Laughlin & Al Di Meola on how to improvise, and thereafter when he discover that he enjoy it etc, and that they laugh and could not believe he (Paco)did not know!...so from Paco’s own personal example, we can learn that:
When he wanted to know about something, he did not thought that “Oh,I am the genius Paco De Lucia, and I don’t need any teacher…, I can find out myself”(even if paradoxically he end it up learning that by “himself”!) -opposite to the “Do it yourself” philosophy- he did addressed the musical authorities on improvisation, namely John Mc Laughlin & Al Di Meola and straightforwardly ask them to teach him how to improvise.
In fact he always discourages this philosophy of “Do it yourself”, and rather promote, and advise me and others to go for the method of acquiring knowledge from the proper source, and being therefore guided and supervised by an EXPERT, then and, only then one can achieve success on the otherwise fathomless mysteries of the guitar as an instrument, and keep things simple like that.
In fact if you think… there is no knowledge which we have not acquire from an external source (besides some instinctive assets which we share with the animal kingdom) everything we know, from the languish to the way we think we have learned (consciously or unconsciously)from someone.
So the conclusion in reference to certainty number 2 is that:
I will attain success provided I follow scrutinizingly and, free from doubt the proper teacher, which should be qualified to explain and convey the message without altering it!, that is, not adding or subtracting whimsically on his own. (there could be many reasons for altering a line, technique or method, some are as follows:
1)To do a business out of it.
2)With the intention to nurture ones own false pride.
3)To justify ones own inability to proceed through the adequate tenets (generally by mixing up the original thing, with someone else opinions or techniques in the name of freedom, experimentation, innovation, trends, current style, and by resorting to any other imaginable plausible lie, and what not…if you want to learn more about this issue please read and study this: http://www.rdiaz.org/rdpacoart.html
that the original technique demands…(in our case referring to the Paco De Lucia’s technique, method, style, and aesthetic compositional & improvisational line.)
(End of part 1)
On the following parts of this article we will continue with certainties number 3,4,5,and 6.
Thanks for your keen interest!
keep that enthusiasm up!
Your friend
Ruben Diaz
info@rdiaz.org
(or) To have Uncertainty as the only one Certainty…(part one)
Prof. Ruben Diaz, Ph.D. Contemporary Harmony and Composition
Can a human being live without any certainty?...
Is not true that without some sort of certainty we lose all sense of structure and enthusiasm in what we do?...
For some the only certainty is to be uncertain (about what they want to achieve, or for example, to which are their long and short term goals with the guitar.)
So would that be Ok?...
At least that’s also a kind of “certainty”…
What does it mean certainty?...,and how does this concept would ever apply to our process of learning guitar?...
According to the Oxford Dictionary certainty means:
ORIGIN Latin certus ‘settled, sure’.
• noun (pl. certainties) 1 the quality or state of being certain. 2 a fact that is true or an event that is definitely going to take place.
Certain:
• adjective 1 able to be relied on to happen or be the case. 2 completely convinced of something. 3 specific but not explicitly named or stated.
To not underestimate the importance of certainty in our guitar path, lets start by examining the crucial need of certainty, in even the most trivial things of our daily life like, for example lets talk of buying some apples in the supermarket.
In order to accomplish this task appropriately I have to have certainty on many things like:
1)I should have certainty about what is an apple,(how does it looks like ,its shape ,size ,colors ,etc)
2)In the same way I should have also certainty about what is not an apple.(otherwise I could get a similar fruit for an apple!)
3)Then I should have certainty about where apples are being selled(namely at the supermarket)
4)Then I should have certainty about what is the supermarket exact address.
5) Then I should have certainty about whether if I have money enough or not to buy the apples…
6) Then I should have certainty about how can I get there, (if I don’t want to lose much time), I need to Know the possible short cuts if there are short cuts at all and, if I will take either the subway, bus, or the car, what difference does it makes…etc.
7) Then I should have certainty about the exact hour at which the supermarket will close…
All of this certainties I need to have, and if ANY of these is missing, I may not be able to accomplish my task, of buying the apples.
So if that many certainties are needed to do such a simple thing as buying apples…then what to speak of the certainty we need to become fully successful on our guitar path.
I think it makes sense all of this, and to be able to convey this advises I am giving now(mainly to my personal students as well as to anyone that will derive a tangible benefit from these articles on guitar related topics that I am writing) I will speak of my own experience with the guitar in the 25 years or so that I have being trying to learn how to play and compose(according to Paco De Lucias method)
I) Principle number 1 is certainty about what EXACTLY is my goal.(this applies EVERY TIME I PLAY.)
(the example I will present is as follows: suppose that I go to a car race competition, and if my goal or purpose is to lose, and then if I win…is that a failure or a success?...it is a failure, because my purpose was not to win.
So certainty number 1 is of paramount importance!
We can ask sincerely to ourselves how often we “play”(must of the time the guitar plays with us!, instead of we playing the guitar…) or even “practice” on a daily basis without having but a vague and foggy idea of what we do really want to accomplish, (it can help to read and answer this:)
http://www.guitarfoundation.org/drupal/node/4929
(say, if you are practicing scale patterns or fingerings, WHY you are doing so?, what is the purpose?... for example it can be to increase speed, or may be because I want to learn to improvise melodic lines articulately, or perhaps, what I want is to improve a phrase on a particular passage for an specific piece, or it can be that I do have nice speed already but, my sound is a little skinny, and I desire to make it become more powerful!,etc.
You see… all of these different reasons WHY I may be practicing scales are there…and how can it be beneficial to just do practice scales without knowing WHY I am doing it?
Generally, in the best of cases we fell pray to automatism!, and (according to Dr. Paco De Lucia)that will be very detrimental to our progress unless our goal is to waste time!...(remember…like in the car race example).
II) Certainty number 2 is about HOW I will reach my chosen destination?...means trough which method or way I will be able to fulfil my purpose?...can I do it myself without an expert guidance?...
In my own personal experience, I admit that I personally never tried to learn without a person who teaches me, -not how to play guitar-, but HOW TO LEARN to grasp in its completeness the whole issue of what it is required to learn to play guitar…
(including WHY should I accept an specific teacher… and why I should follow his line instead of others lines or methods… which are the qualifications of a real guitar or music teacher…in other words who is a true teacher…and how can I discriminate between proper and improper approaches in guitar -technically and in all respects- what actually is a true student of guitar…and if am I qualified myself to be a real student?...etc.)
And I will also say, that I never witnessed of any guitar player achieving success or a really high status in guitar performance or as a composer trough this “Do it yourself” philosophy except for my own preceptor Paco De Lucia…
Some reasons that discourage oneself to dare to artificially imitate Paco, this genius self-taught, were presented here: http://www.rdiaz.org/rdpacoart8.html
Even Paco says here in this video http://www.youtube.com/watch?v=Ofn3Y5GyPKs
minute:1:36,that he inquired from John Mc Laughlin & Al Di Meola on how to improvise, and thereafter when he discover that he enjoy it etc, and that they laugh and could not believe he (Paco)did not know!...so from Paco’s own personal example, we can learn that:
When he wanted to know about something, he did not thought that “Oh,I am the genius Paco De Lucia, and I don’t need any teacher…, I can find out myself”(even if paradoxically he end it up learning that by “himself”!) -opposite to the “Do it yourself” philosophy- he did addressed the musical authorities on improvisation, namely John Mc Laughlin & Al Di Meola and straightforwardly ask them to teach him how to improvise.
In fact he always discourages this philosophy of “Do it yourself”, and rather promote, and advise me and others to go for the method of acquiring knowledge from the proper source, and being therefore guided and supervised by an EXPERT, then and, only then one can achieve success on the otherwise fathomless mysteries of the guitar as an instrument, and keep things simple like that.
In fact if you think… there is no knowledge which we have not acquire from an external source (besides some instinctive assets which we share with the animal kingdom) everything we know, from the languish to the way we think we have learned (consciously or unconsciously)from someone.
So the conclusion in reference to certainty number 2 is that:
I will attain success provided I follow scrutinizingly and, free from doubt the proper teacher, which should be qualified to explain and convey the message without altering it!, that is, not adding or subtracting whimsically on his own. (there could be many reasons for altering a line, technique or method, some are as follows:
1)To do a business out of it.
2)With the intention to nurture ones own false pride.
3)To justify ones own inability to proceed through the adequate tenets (generally by mixing up the original thing, with someone else opinions or techniques in the name of freedom, experimentation, innovation, trends, current style, and by resorting to any other imaginable plausible lie, and what not…if you want to learn more about this issue please read and study this: http://www.rdiaz.org/rdpacoart.html
that the original technique demands…(in our case referring to the Paco De Lucia’s technique, method, style, and aesthetic compositional & improvisational line.)
(End of part 1)
On the following parts of this article we will continue with certainties number 3,4,5,and 6.
Thanks for your keen interest!
keep that enthusiasm up!
Your friend
Ruben Diaz
info@rdiaz.org
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