我20多岁住在西班牙的时候, one of my friends once joked that my nickname should be El Comefalsetas (the falseta eater). 事实上，我非常饿. 我只是需要学习我听到的一切. I was the annoying kid who wanted to learn what anyone around was playing, 然后我就去上课，学得更多. Then someone would have some TABs lying around so I’d learn that (this was before the internet, 所以标签非常罕见), 如果我听到其他我喜欢的东西, 我会用耳朵学. 那是一种全职工作，所有的假声. 而这一切都发生在我开始写假声之前, 大概有几百个…
我很幸运有个好记性, 太, 所以我倾向于记住一切, 给了我大量的曲目. 年后, when I was back in the US and started gigging a lot I had some 4-hour restaurant gigs where all of that material came in handy – I would often play one set that consisted of a half hour Buleria where I would challenge myself to not repeat any falsetas (not that the average restaurant patron would have noticed if I had).
但是学习这么多材料有什么坏处吗? 事后看来，我想可能有. By spreading myself so thin – learning dozens and then hundreds of falsteas – I didn’t spend quite as much time on any one of them as I probably should have. In my case, I feel that this was not the best thing for my technique. I suspect I would have become a cleaner player had I learned half as many falsetas, 甚至更少, 并花更多的时间完善它们. 在数量对战中. 我选择了数量，并没有回头看. 无论你作为一名球员有什么挑战——技术, time, memorization – you’re going to want to find some balance between Quantity and Quality.
与一切, it depends: If you’re an aspiring accompanist or if you’re already playing with dancers and/or singers and just want to be more versatile, 然后你就可以制定策略了. Do you have one solid falseta for each 加州 that you’re likely to be accompanying? 如果不是, 这就是你的答案:直到你把所有的垒都盖好, you probably don’t need to learn another falseta for the 加州 you already have lots in. 学习一种非常可玩的游戏.e. maybe not that Antonio Rey falseta with all the picado) for each 加州 you tend to play. Once you have that down, you can add one or two harder ones for when the circumstances are 正确的.
After that you might ask the people you play with if they plan on doing any new 帕洛斯 soon. That way, for example, you can have one or two 希拉 falsetas ready to go for when that comes up. 如果他们没有新的计划, then you could always suggest they think about that new 加州 you’re working on, 正确的?
And don’t forget that the falseta is just one moment in the Cante or Baile that you’re accompanying. A bigger part of being a good accompanist is also having a good variety of compás to play at various tempos, 当有空间的时候，和弦进行, 以及对compás坚如磐石的感觉. So consider making really sure you’re good with all of the sections of a dance before learning another falseta.
如果你只会独唱，那就不同了, and I’d recommend you really cover one 加州 at a time so that after a little while you have a new piece to perform. 除非你在学完整的片段, I think that part of the fun is having somewhere between three and five minutes of material to play, 然后真正花时间在这上面. 当作品开始让人感觉很舒服的时候, 您可能已经准备好添加一些更复杂的材料. At this point you can either replace some of the falsetas with newer ones, 或者只是添加到你的曲目中. There’s nothing wrong with having some old-school falsetas next to some more modern ones in the same piece.
But remember that you don’t need 20 falsetas to play a great guitar solo, and don’t forget that all of the compás (what I think of as the connective tissue) that comes between the falsetas is every bit as important. 如果在每一个假声之后，你会回到相同的几个变奏, 你和你的观众都会感到厌烦. So learn lots of variations for that stuff 太 – it’s incredibly rewarding, and each variation is probably less time consuming than a new falseta.
如果你在练习技巧 then you may want to go through a phase where you choose, 说, alzapua fasletas in various 帕洛斯 so you can really hone your chops. Sprinkle some more Alzapua in everything you play until you feel like it’s time to move on to another technique. 再一次, you’ll find just as many great traditional falsetas and modern ones to work on any technique you choose. And you’ll find lots of opportunities to work the chosen technique into your compás variations, 也.
或者你可以跟随你的灵感 and learn whatever moves you the most as you listen to all of the great music out there. I really believe that whatever inspires you the most to play is probably the thing to do (assuming you don’t have a gig that’s making specific demands on your time). You’re bound to spend more time with music you love than with music you feel you’re supposed to play, 所以最终这可能是正确的选择. 但是一定要选择你能处理的材料. Maybe only allow yourself a certain amount of new falsetas at any given moment, and once you feel like you really own a falseta you can start learning a new one.
但无论你做什么，都要有选择性 and maybe don’t feel like you have to learn it all now. Like so many things in life, there’s no way you’ll ever learn all of it anyway. 既然Gpk电子游戏平台必须做出选择, 试着选择你真正喜欢的音乐, 但这对你目前的水平也有意义. There’s nothing wrong (and lots 正确的) in learning some aspirational material that you can’t pull off yet. But it’s more satisfying to play music that you can nail, that you have some control over. And you’re more likely to nail the stuff you play if you find the 正确的 balance between Quantity and Quality. 就像我经常说的，你更有可能得到一个Ole! for playing something simple really well than for being yet another player who couldn’t quite nail that Paco scale….