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  1. #101

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    Quote Originally Posted by Marinero
    P.S. I could tell from your Spanish that you weren't Puerto Rican, South American, or Mexican. All three use different words, expressions although the syntax is "almost" the same. Good playing . . . Marinero
    That wasn't my Spanish, more like Andalusian vernacular for the occasion:
    chiquillo - dim. of chico
    pa' que - para que
    tocao - tocado

    There's no real variation in syntax* in Spanish from one country to another. The biggest, and sometimes funniest (to a European Spanish speaker), difference is the "Latin" use of the usted form of address, considered to be appropriate for older persons.

    *However, lexical differences abound, eg:
    móvil - celular (mobile phone)
    autobús - colectivo (Argentina) (bus)
    coche - carro (car)

    Also, in Spain the consonant C in many cases is pronounced "Th", but like an S in Latin America and some differences in use of verb tenses: "Nunca he visto esa pelicula", "Nunca la vi".
    Last edited by Peter C; 06-03-2020 at 04:46 PM.

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  3. #102

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    Quote Originally Posted by pauln
    I mentioned earlier that, "I have played whatever music the bands have wanted their audiences to hear", but that's because I was interested in different genres. I have performed with hundreds of musicians and they have been like me - interested in lots of different kinds of music enough to have learned how to play them and having played in bands of differing genres, and played in individual bands that played music of different genres.

    ( snip )

    I think the natural state of a musician is to be versed in different genres as a result of curiosity while learning, acquired broad interest, and an honest history of having performed all kinds of music. It seems unlikely that so many well known guitarists would suppress or allow to be suppressed their personal history of playing other genres. Almost as if the unspoken past and certain influence of playing other music is hidden and just referenced by the word "dues".
    I suppose that last part explains why I find the gubgubbi so fascinating. It's a part of Indian music that the Indian classical musicians tend to ignore; it's part and parcel of the Northern Indian folk traditions. It's got a sound all of its own.

  4. #103

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    Quote Originally Posted by christianm77
    I try to avoid playing in different styles.

    happy to play in different genres.
    I think that's a really good way of thinking about it.

    It's sort of about speaking with the same voice. Like if you went to a coctail party or were giving a lecture or talking to your kid or your dog, you'd still be you, more or less. You'd be communicating different ideas but you would have the same brain.

    Someone like John McLaughlin is like that. Whether he's playing flamencoish, or Indianish or jazzish stuff, he still sounds like John McLaughlin. Sometimes I don't love his jazz playing but he's still an amazing voice.

    It would be really hard to play like John McLaughlin and Paco De Lucia though.

    I've been without work (somewhat gleefully tbh) since March and practicing more and more consistently then I ever have been. The last couple of weeks I've averaged about 5 hours a day. I can see that if I was able to keep this up I would definitely make some heavy progress. What's amazing to me is that even with a few hundred hours of practice between March and now, while I see a lot of improvements and sort of naturalness developing, it's not like I can shred whatever I want.

    I am working between a few genres though. Some african style guitar, some Bach, some chord melody and some django. And some other stuff here and there. Konnakol etc.

    If I focused on one thing, I would make more progress in that thing. 100%. It's putting in the hours. It's like an equation: [# of things you are working on/ Number of hours you can practice * sustained months/years of practice (and playing)]/whatever natural talent you have (if that's actually relevant)= your progress and skill