Chupacabra wrote: Isn't passing on the tradition a significant contribution?
bongosnotbombs wrote: I'm curious why sharing class notes would have a different effect than selling them? I question the ethics certainly, but why would the effect be different? The notes are the same regardless of how they were acquired.
A rhythm chart is just a crutch after all.Mike
The real feeling and also technique can only be conveyed by a good instructor
taikonoatama wrote:
There's also the issue of a transcription being, really, just a script. People don't necessarily read it the same (or intended) way. If you're not intimately familiar with the playing style of the source (in this case Sandy, or at least with the specific Matanzas tradition of which he's a part), then there's little chance that you'll play with the correct nuance (which is a huge part of Sandy's playing - the push/ pull of time, his particular style of dynamics, the swing of the ghost notes, etc.) . You won't play Sandy's music the way he would expect it to be played. Based on purely the transcript, people might play it with a completely incorrect nuance/feel and then teach that to somebody else. I can't see Sandy being too pleased about something like that.
James
flaco999 wrote:
I'm also kind of insulted because I brought up these discussions about sharing rythems, and it's not like I came to the table empty handed.
I've posted several rythems from some really good teachers that I payed at one point in my life. Who gives a shit about the money?
What's really important is that we spread the stuff around , so it spreads and brings enlightenment drummers everywhere.
Flaco
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