Y el que guarda, haya. Labor de archivero pa cuando intenten borrar lo bueno. Dijo Fahey:
My favourite Fahey quote on playing guitar:
“Flamenco and American folk guitarists play the guitar soft and hard, quietly and loud, fast and slow, with irregular and regular rhythm. The possibilities of your relationship with your guitar can only be made manifest by an exposition not only of all the qualities you can come up with, i.e. sweet, slow, pastoral, etc., but also by their opposites.
If in this essay I have put emphasis on subjectivity, this has been because I feel that the other writers and exponents of guitar playing neglect this side of it and place too much emphasis on objectivity and technique. But never let it be said that I have encouraged an irrational perspective, sung only the praises of the personal. Playing emotionally and well presupposes a great deal of practicing, learning, and mastering all of the technical essentials. You must broaden your musical education, and spend many, many hours over a period of years, listening to and digesting symphonies, tone poems, concerti, and chamber music, as well as the folk and/or popular music which you wish to play. From this perspective, and only with these prerequisites, can you let yourself go and play emotively and well, because when you have digested the music, your mind has a built-in sense of form and structure – a sense of when to stop, when to speed up, when to play quietly, triumphantly, etc. When you get to this point, you can play with self-confidence and freedom.
The typical middle-class interpreter of folk music makes his guitar sound like a metronome, without timbre changes and without percussive and loud-soft tone contrasts. He is a friendly guy. He likes everybody. He smiles a lot. He wants you to like him. He’s "volk". The hell wih him".
If in this essay I have put emphasis on subjectivity, this has been because I feel that the other writers and exponents of guitar playing neglect this side of it and place too much emphasis on objectivity and technique. But never let it be said that I have encouraged an irrational perspective, sung only the praises of the personal. Playing emotionally and well presupposes a great deal of practicing, learning, and mastering all of the technical essentials. You must broaden your musical education, and spend many, many hours over a period of years, listening to and digesting symphonies, tone poems, concerti, and chamber music, as well as the folk and/or popular music which you wish to play. From this perspective, and only with these prerequisites, can you let yourself go and play emotively and well, because when you have digested the music, your mind has a built-in sense of form and structure – a sense of when to stop, when to speed up, when to play quietly, triumphantly, etc. When you get to this point, you can play with self-confidence and freedom.
The typical middle-class interpreter of folk music makes his guitar sound like a metronome, without timbre changes and without percussive and loud-soft tone contrasts. He is a friendly guy. He likes everybody. He smiles a lot. He wants you to like him. He’s "volk". The hell wih him".
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| Foto by the Grossmans |
