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TRÍADAS, ACORDES e IMPROVISACIÓN | Masterclass con Mariano Delgado — Transcript

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0:00I can play the A7L13. I'm playing if we
0:04look at the minor with rodeo. Awesome.
0:13It's good. From here. This second one
0:31that I love, from this one. People,
0:57we're with maestro Mariano Delgado.
0:59Mariano, maestro, we didn't know
1:00whether to talk about mixed martial
1:02arts
1:03>> or guitars, but what do we have to gain
1:05from talking about guitar?
1:07>> Let's go to guitars,
1:08>> but another day we have to have a
1:10meeting about this passion that we also
1:12share, irons and things.
1:13>> I like it, I like it, uh, for the next
1:15video. Well, it's a pleasure to welcome
1:17maestro Mariano Delgado here. The truth
1:19is that I'm a fan of what you play, a
1:21fan of yours, I love everything you do
1:23and nothing, I would like more than
1:25anything to steal your data. I'm going
1:27to take it as a private lesson, you
1:29know? Since I brought you undercover, a
1:31little coffee, we watched some fights
1:33and now, you know,
1:35>> between
1:36>> stealing calmly, as I always say, you
1:37have 100 years of forgiveness.
1:39>> Total, total. Listen to me, tell us
1:42briefly about your musical education,
1:45your training, how you got started, if
1:48you studied formally or informally, how
1:50it was...
1:51>> No, I didn't study formally. Actually,
1:54my old musician from Los Andariegos, uh
1:56, and at home we had guitar parties
1:58every day very often. And, uh, that was
2:01the first contact I had. My old man
2:03didn't want to teach me much because he
2:05saw me as too young. The first thing I
2:08learned was a tango called Luis
2:10Amanecer, which is a tango that the
2:12black Agustín Gómez from Los Andarios
2:15made for Luis Amaya. I insisted so much
2:18, and Andrés Gómez, who is his son,
2:19passed it on to me. It happened. That
2:29was the first thing I played, then I
2:30asked my old man, "Hey, how do I go on?
2:32" And that's when my old man started
2:35teaching me, but he taught me, I copied
2:37without knowing any theory or why or
2:38whatever. And at that time they did a
2:43lot of these guitar-playing and whatnot
2:45, and I saw that my old man would play,
2:47I don't know, 20 songs in different
2:48keys and I would play my three little
2:50songs from memory and I would get bored
2:52. I mean, man, how is this? So that was
2:55what motivated me to want to understand
2:56a little bit. Then I started listening
3:00to Gary More, you know the typical one
3:02that drove me crazy? It must have been,
3:06I don't know, 10, 11. Um, and there I
3:08started to take out the pentatonic and
3:11I understood, ah, pentatonic, A minor,
3:13we can play different chords, but it's
3:15all A minor. And the other click that
3:19really made me feel great was when I
3:21heard the maestro here with Aldi Meola,
3:22do you remember
3:26>> pas? Right? Yeah, yeah. Amos.
3:29>> Sure. And I remember that we were, you
3:31know, messing around and my old man
3:32started messing around with this
3:35>> and he did that scale. I mean, it
3:40wasn't Paco Luía at all, but I mean,
3:41it sounded like the same vibe. Oh, he
3:45told me, E minor scale. But how? Here,
3:48minor, and here, that's where I went.
3:52Oh, okay. I mean, that was my first,
3:56like I got hooked, I understood a
3:58little bit of the thread, so that's
4:00when I started to get more things and
4:02everything, because of this need to
4:04want to understand it, I started to
4:06organize it; and then, well, I listened
4:09to Luis Salinas, who is a, dear Luis,
4:11who is a total beast and, well, that's
4:13when I started to listen to more things
4:15. Michel Camilo, pianists, Um,
4:19>> but well, I got a little more into,
4:21more into music, if you like, this, uh,
4:24blues and whatnot. Although I already
4:29played tango and folklore with my old
4:31man when I was little, I kind of got
4:32into it there; and when I rediscovered
4:34that music, with other more traditional
4:36styles, I don't know if it was blues,
4:38but more modern, if you like, yes, more
4:40yaito. And and during that journey, did
4:42you study formally or not? Or was it
4:44your own search, or were you always
4:45alone?
4:46>> No, always on your own.
4:47>> Oreja, did you have an academic
4:49education or
4:50>> not? It's just that my old man didn't
4:52want to teach me, he didn't know how
4:54either.
4:54>> Sure, sure.
4:55>> Yes, I asked him and yes, it goes here,
4:57I don't know, did you see the talks I
4:59had with Negro Gómez, I remember many
5:01times my old man would tell me, "Ah,
5:02here you put such and such a chord,
5:04another animal, you don't have it,
5:06right? This one that's also intuitive,
5:09huh?" And Negro Gómez's explanation at
5:11that time, I remember my son telling me
5:13here. Sure, here you put this chord
5:16after this and he would say, "Yeah,
5:18yeah, well, you'll see.""That was the
5:20theoretical explanation. I mean,
5:23everything came from a random process,
5:25from wanting to understand, but hey, I
5:28was always very much about wanting to
5:30organize and also about trying to
5:32figure out where it was going, you know
5:35? And then some written data came to me
5:38, you know? From Berkley's notes, you
5:43know? About diminished symmetrical
5:47scales, altered scales, you know? All
5:49that data that at that time,
5:51>> and you studied it from that method or
5:53it didn't arrive and since it did
5:54arrive, it went away.
5:55>> I saw, I didn't see that it was there.
5:58It's just that until you put it through
6:00practice and listen to it, it's like a
6:02scale that's kind of a hybrid.
6:04>> Of course. I don't
6:08>> know when it was that I understood it,
6:10but it helped me a lot to understand a
6:13little bit about the pentagram, the
6:15triads, I mean, the whole issue of the
6:21harmony of degrees. I studied it kind
6:24of on my own, a little bit that I found
6:26out there. One year, yes, I went when I
6:29was 11, This one, with Miguel Ángel
6:31Cherubito, I don't know if you know him
6:33, right?
6:34>> A
6:36>> tremendous musician, left-handed, who
6:38taught me with technique, you know?
6:40With the little stool.
6:41>> Ah, classic, half academic. It's that
6:43stick.
6:44>> Yes. And he taught me something that
6:46was really great, which is relaxation.
6:50Relaxation like body posture, breathing
6:53, visualizing, playing things slowly in
6:55your head beforehand. That's tremendous
6:58. I tell you, it's one of the things
7:00that helped me most. And especially to
7:03warm up, you know? That uh, before
7:06playing, you warm up a little bit. Well
7:09, with this technique, you start
7:12playing with your hand. It takes like
7:15an hour of
7:17>> you. And then you started naming the
7:20things you play, because you, for
7:22example, I've seen you improvise and
7:23you play data, data data heavy, I mean,
7:25all that data that you first absorbed
7:27by ear, then you systematized it or you
7:29asked questions, You see? Hey, what's
7:31this called? Or you were never
7:32interested in it, let's say.
7:33>> And yes, you start meeting people who
7:36hang out with you, they throw you data.
7:38I was another one. Nowadays, with the
7:40internet, the truth is that everything
7:41is there.
7:42>> Yes,
7:42>> everything is on the internet. Um, but
7:44well, I was finding my way around it a
7:46bit, wanting to understand, I didn't go
7:49too crazy because there are 1 scale,
7:511000 names, you see? I don't know,
7:54Ionic Minor or well, there are weird
7:57things, you see? Yes.
7:58>> Um, I tried to find a way to find what
8:01resonated with me, with what I knew I
8:04could, let's say, understand,
8:07especially so that when a student
8:09appeared, you see? I could pass on the
8:13data with the corresponding names, but
8:15beyond that, that you enter from a
8:17musical perspective, but more or less,
8:20I
8:21>> know where it comes from, let's say.
8:23>> Sure, sure. And listen to me, do you
8:24have, for example, a study routine now
8:26or did you have a study routine? to
8:28study all that data? Especially the
8:29improvisation part, you know? Which is
8:32always a very, very demanding part
8:35>> in terms of sitting down to work, no
8:37matter the method, right? You see, they
8:40tell you, I never had a routine. The
8:42thing is, I was so passionate about
8:44wanting to understand, so the hours
8:45would fly by; I mean, no, it's not that
8:47I set out to do it. I would go to
8:49school without sleeping, I would stay
8:51up all night playing, making records
8:53and making and making and making, often
8:55without understanding, honestly, but at
8:57some point it comes in, you know? I've
9:00taken, I don't know, from Michel Camelo
9:03, from Salinas, from Grela, for example
9:05, some things that
9:06>> Grela also likes, man. Awesome. How to
9:10phrase everything, how to put together
9:12the sentences and many things, look how
9:13crazy. Sometimes I would do them badly
9:15at a time when we were recording with
9:17cassettes, you know? Sure.
9:21>> And sometimes, of course, you do it,
9:23but you're interpreting the meaning of
9:25what is free interpretation, not your
9:27own, which at the same time always adds
9:29up. right? I remember that I had taken
9:33out the organ in the afternoon and such
9:35things. That, those phrasings,
9:43chromaticism that you have to have a
9:45location of where you are. Sure, sure.
9:48>> So it's not good. I've put everything
9:51into it. The only thing that lately I
9:54have set for myself as a kind of goal,
9:57but hey, it's relative. Uh, the
10:00three-finger right-hand technique. Oh,
10:03look, you always play with your fingers
10:05, you don't play with a pick.
10:07>> I play with a pick from time to time,
10:09but I have more ease with my finger,
10:11huh?
10:11>> And what about the three-finger
10:13technique? I've never
10:14>> seen it.
10:15>> No,
10:16>> well, in the next chapter, right? Uh,
10:18Mateo Mancuso, you have it.
10:20>> Yes, I'll recap with three.
10:22>> Oh, look.
10:23>> And Caray Guedes.
10:24>> Yes, too.
10:25>> And well, you saw, they have a
10:26sixth-string box.
10:27>> No, I had never paid attention to that.
10:29Look.
10:29>> Yes, but you saw how they fly.
10:31>> Well, Look, look how interesting. You
10:33see, when we viol players use drugs,
10:35we're usually very lost in what happens
10:37in the little data of our left hand.
10:39It's like the first dopamine that we
10:41receive, and today we were chatting and
10:42you were telling me that when you
10:44started playing
10:46>> with Vitale, you also started replacing
10:51Lucho
10:52>> Lucho
10:53>> and you said," Man, this guy's right
10:55hand is heavy. "" Yes, here is the data
10:59, the harmony and the scales, things
11:01like that, but for me it comes through,
11:03uh, the right hand, let's say, you
11:05transmit it with that touch, with that
11:08presence and above all with the swing,
11:10right? And obviously both hands are
11:13involved and obviously it's the guy who
11:15puts it in, but the swing and how it's
11:17played,
11:19>> uh, and the same scales, the same
11:21chords played by another musician sound
11:25different, you know? Not only because
11:27of the sound of the guitar, but because
11:29of how they express it. Sure, sure.
11:31>> This, and Lucho had that, Lucho had a
11:34firmness and and the swing was what the
11:37trio carried. I always listened to it
11:40from the fan base of the trio. Now I
11:43have, like, the gift from heaven of
11:45being in the trio with Victor and Lito
11:48and I took the time to listen to Lucho
11:50well. Obviously it was his touch and
11:53his right hand, you know? Very Peruvian
11:56with those tremendous drones. and that
12:02touch and the and the and the snap that
12:04you see the guy's hand making when he
12:06releases it, you know? This, but the
12:10swing he does is incredible, huh? I
12:14mean, there's no click of a metronome
12:16that suits you. That's like you felt it
12:18. Yeah. And you had the chance to meet
12:21Lucho or to ask him like, man, "Hey,
12:23what's this like?""
12:25>> Yes. Did he give you any information
12:27firsthand, right hand man? Let's see,
12:30he's told me things, some I could,
12:32others I couldn't because he was very
12:34much his style and also one puts his
12:36own vibe into it, but above all
12:37respecting the essence and well, I have
12:39the honor, Luchito told me that I was
12:41his heir, so it's not a
12:43>> separate responsibility, right? That's
12:46heavy,
12:46>> right? Really, really hard and lately,
12:49the truth is that we've worked a lot
12:51together.
12:52>> Oh, they played together too.
12:54>> Yes, we played together. Well, when I
12:56joined the trio, uh, it was because
12:58Luchito started having problems with
13:00his right hand, the tendons and whatnot
13:02, uh, it was quite a responsibility and
13:04. But Lucho, with all the love in the
13:06world, kind of gave me his place and
13:08well, with all the musical respect and
13:11apart from the love I have for him as a
13:13person, even though he's not here
13:15anymore, I remember him a lot, always
13:17trying to be respectful of that and
13:19apart from that I love him, you know?
13:21He, he He marked not only the rhythm,
13:24you know? Eh, from the arrangements, I
13:26don't know if you have the clock, you
13:28know? Let's see. Eh, well, look at this
13:35, that arrangement is spectacular. This
13:57is Luchón, right? That's tremendous,
14:03>> tremendous.
14:05>> My old man had a great right hand too
14:07and I've seen him do this too, but I
14:10swear it was very difficult for me. It
14:13didn't
14:13>> come naturally, let's say, you didn't
14:15have to work at it. No, no, besides,
14:18I'm telling you no, I mean, I'm trying
14:20to figure it out, but the fluidity with
14:22what he did. There's
14:25>> something there that's
14:26>> very Peruvian guitar.
14:29>> The truth is I don't know, I mean,
14:31watching Lucho and listening to others
14:32that I don't know as well, but you did
14:34see
14:40>> how they give it, you know?
14:42>> Yes, another weight, right?
14:44>> Yes, yes, yes. But anyway, it's very
14:45related to folklore, right? All of
14:47Latin America. Yes. Yeah, yeah.
14:49>> But Luchito had,
14:52>> well, he had a, well, once we played
14:54with Palo, this one, and there's a
14:57little video out there, uh, that's
14:59really a gift for me. We're playing a
15:02bolero. Um, and in the video, you can
15:06hear, when I'm closing the solo, you
15:09can hear Lucho saying," What a son of a
15:12. "" But wait, it's crazy. I was
15:15just watching.
15:15>> He was there, he was in the audience.
15:18But wait, I discovered later, uh, that
15:20Palito, we're talking about Paloma Mas,
15:23a tremendous singer here,
15:26>> daughter of the great Pilín Masi, uh,
15:28two. No kidding, this is no
15:30>> kidding, it's not a joke. Well, then
15:33maybe I'll throw it, well, I don't
15:34remember, the sun was coming, because
15:36on top of that you have to keep up with
15:38the mamas being Pilín's daughter,
15:40let's say, I mean, you can't go and put
15:42fruit in there.
15:44>> No, no, I'm a bit of a jerk.
15:47>> You have to be there
15:48>> and you have to send it, you have to
15:49send it,
15:50>> you had to give it your all. You have
15:51to give it your all,
15:52>> right? Forget it, you have to deliver
15:53there. This, and well, and the solo is
15:57ending. And I said a phrase that I
15:59don't remember what it was now, uh, but
16:00what I wanted to tell you is this, that
16:02Lucho tells me, "What a son of a,
16:03you see? He asked for applause and
16:05everything, but after listening to what
16:08I played, I had actually stolen it from
16:10him. I
16:11>> mean, I didn't steal the exact phrase,
16:14not even consciously, but it was
16:16something like that. Let's see if, uh,
16:18uh, because the bolero closed, you know
16:20? That little phrase made those same
16:27arrangements in the arrangement he made
16:29for, uh, the wailing wall. Do you have
16:32the Fitopez album
16:34>> and El amor después del amor? What was
16:37it like? You don't
16:43>> have that song.
16:44>> Mercedes doesn't sing it in the part of
16:46the stirrup. You have it. Yes. Well,
16:51and when it comes to healing, she does
16:54this, look. And I would have
17:12>> the same. Arrio de Lucho recorded on
17:18Fito's album and
17:20>> you must have released it at some point
17:21.
17:23>> You see, they are great songs that stay
17:24with you, you know? They stay in your
17:26DNA
17:27>> and you put them in the bolero later.
17:28>> Of course. It's the solo, I also
17:30improvised it there, I didn't even know
17:32if I was going to do another round
17:34because we were there, we had rehearsed
17:36a little bit with palo em and I sent
17:38him that little phrase and the guy, you
17:40know? He gives it to me. What a son of
17:42a, man. I stole it from him. It's
17:44beautiful. It's beautiful. Tremendous.
17:46It's beautiful.
17:47>> But I'm telling you that this song is
17:48nice to analyze, right? I mean, you who
17:50analyze it. Yes, yes. I'm going to
17:51check it out because I'm also a fan of
17:53Fito. I like it a lot. Don't you
17:54>> have the Wailing Wall?
17:56>> No, I didn't miss it, you know? It's
17:58>> Love After Love, it's
17:59>> from that album. It's
18:00>> from that album. Yes.
18:02>> Look, I didn't know Lucho played there.
18:04I know he played with another one
18:06called Your Unforgettable Smile, I
18:08don't know if you have it, he also puts
18:10in the riff, that's his and it's
18:11tremendous. It's
18:13>> that Lucho, where he put the
18:15arrangement, eh, modified the theme.
18:18Without that arrangement
18:19>> the theme is unclear; it sounds foreign
18:21now. Look, this was Tony Dominante, I
18:24would love to know what the original
18:26was like, how Lucho took it and put the
18:28data because you see, this drives me
18:34crazy. Trar. Here, trar, I
18:41>> asked him, dude, how the hell did you
18:43put that in there? Because the minor is
18:49slow. No, no, no, there's no other
18:50explanation. I mean, yes, no, because
18:52the melody, I don't know what. Well,
18:54but that chord,
18:56>> you see, it's a lot like the bosa, a
18:58little bit, right? The second major,
19:00but what do I know.
19:06>> In a major, but in a minor. No, not
19:10>> crazy. Sure. Yes,
19:12>> obviously we put it in there like that.
19:17>> No, but that's deadly. Well, it goes in
19:20like a 10, so I got that little gift.
19:22And the last message I had with Lucho,
19:23which is also another gift. I wrote a
19:30song for my old man 1,000 years ago and
19:33one day, while listening to a Lucho
19:35record, I swear, the entire first part
19:37is the same. I mean, I stole it from
19:40him
19:40>> at gunpoint. I
19:42>> stole it, but I should have checked the
19:43date because I wrote it 1,000 years ago
19:45. Anyway, I went ahead and sent him a
19:47message," Luchito, I totally
19:49accidentally stole a song from you, but
19:51anyway, this is yours and I sent it to
19:53him. I had just recorded it and it's
19:55the last audio I have from Luchito and
19:57he replied with something beautiful. No
19:59, that's yours, what do I know. "And it
20:01was
20:01>> amazing, amazing, beautiful, beautiful.
20:02>> Amazing.
20:04>> Man, listen to me. Hey, I once saw a
20:06video of you improvising over Salinas's
20:09annoying song. Maybe I lost that, huh?
20:12>> And I would like to ask you that
20:14because you are a great improviser and,
20:17yes, for me you are a really good
20:19improviser and it is difficult, and I
20:22have also spoken about it even with
20:24Rivas, with many who are also
20:26improvisers, it is very difficult to be
20:29an improviser and maintain the style,
20:31you
20:31>> know? Because
20:33>> I remembered a phrase that I used to
20:35tell Hugo, how do you improvise Tango?
20:37You know? I mean, what, I don't know,
20:39do you play the Boedo scale, you know,
20:40a secret that no one else knows? You
20:42get it there.
20:43>> Of course, you get it there, you know?
20:44You studied there. And of course, he
20:46told me that any improvisation requires
20:48that you first know the style very well
20:49. He says," If you don't, it won't
20:51sound. "And I was listening to you, I
20:54remember one of the many I heard, which
20:56is the one about the annoying one, that
20:58you throw heavy data there, but
20:59nevertheless you are very well versed
21:01in the style.
21:04>> How do you view improv to
21:06>> talk about it plain and simple? I mean,
21:08about that structure, for example,
21:10about something that you can guide us
21:13on, especially with Argentine music,
21:15you know?
21:17>> Well,
21:18>> how do you combine all the information
21:20that, as you were telling us today, you
21:22also followed a path of exploring and
21:24flirting with jazz, with blues, and how
21:26when you turn around, I mean, all that
21:27appears without getting lost, you know?
21:30The folk essence. Uh, the truth is that
21:35it's
21:36>> quite intuitive, let's say. I don't
21:38know which one you mean, maybe that
21:40short one I uploaded, a
21:41>> Yes, from La Peseta.
21:42>> Or playing with Luis because it wasn't
21:44just
21:44>> you alone. I think a backing track.
21:46>> Ah, perfect. There's a Perfect. I
21:48already know what it is. Um, well, it's
21:51quite intuitive. Obviously I pay
21:54attention to the rhythm of the chaca.
22:00I'll tell you how I put that together,
22:01more because I don't know if there's an
22:03explicit method, but I started
22:04improvising and I made a couple of
22:05decisions. The first one was, I mean,
22:08well, I'll start off more gently. Uh,
22:13so I have a parenthesis, let's say, I
22:14don't know if I consider myself a great
22:16improviser, I mean, I know I can do it
22:18and sometimes I do better and sometimes
22:20not so much. I think Luis is the
22:23absolute number one for me. Well, Rivas
22:27is a total beast. I heard him the other
22:29time with Yamandu, some improvised
22:30stuff, you know?
22:30>> Yeah, yeah, yeah.
22:31>> You saw what he plays. It's spectacular
22:33. He also has a tremendous swing. All
22:36flavors. Yeah, yeah, of
22:37>> course. They play, they play everything
22:40well, but also with flavor. Yeah.
22:44>> Well, what I tried to do here, um,
22:50nothing, just take the song and find a
22:55little formula that after taking it out
22:58and listening to it so much, I realize
23:00that it works in some ways. I don't
23:04know if in a solo, you can say that
23:06it's a solo, but many times it's like
23:07it's put together. Let's see, what is
23:09improvising? I mean, you're playing
23:11things that you've already played, from
23:13scratch. You don't start from scratch;
23:15you have an idea. And what I feel
23:17happens in general with solos is that
23:18it kind of builds up, right? You
23:20present a little bit of the idea of the
23:22song, that there's a little bit of the
23:25melody, that there's the flavor of, in
23:27this case, the chaca and then, well,
23:29you expand on it a little bit more and
23:31then you go back to the root, which is
23:33what I was listening to, you know? For
23:37example, when Michelle Camilo does
23:39those tremendous solos, she starts with
23:41full salsa, then she goes into the yas
23:43that kills you, she gives you a
23:45tremendous revolería with yo, and then
23:47she ends again with the salsa which,
23:50well, it's a matter of taste, but it
23:52works.
23:53>> Of course. Yes, yes.
23:54>> Uh, and here in this I think I looked
23:57around.
23:58>> You generally approach improvisation,
24:00doing the work that way. Do you have
24:02like that structure to think about it
24:03or was that specifically the structure
24:05that didn't work?
24:06>> In this case I started improvising, I
24:08looked for a little twist and I ended
24:10up putting it together. I end up doing
24:12something put together.
24:13>> A single
24:14>> Yes, but you
24:15>> more or less agree on something more or
24:16less. I mean, I started with the
24:20Enamelo, right?
24:21>> Yes. I'm
24:25>> thinking about a second fifth there.
24:28>> Ah, you're thinking about the whole
24:29harmonic structure, let's say,
24:30>> always. Ah, good, good. That. Well,
24:33that's good to explain. I mean, the
24:37whole harmony of the theme together
24:41with, if you want, the triads, I see it
24:44as the same thing. I mean, if I see
24:48this D minor, apart from the different
24:51D's that I can see, I also see it, I
24:54mean, I have it at hand. Okay,
24:56>> if I had to play the chord and I wanted
25:00to, let's say, fill in the case of
25:02accompanying when we play with a stick,
25:11I'm playing both things, I see them at
25:12the same time, right? Or
25:18>> like who could see like that, right?
25:20>> But it's not there.
25:21>> Where do you get that view? Look at
25:24temu,
25:25>> because you threw it out there like it
25:26was easy, man.
25:28>> Sorry. Well, uh, but it's not that easy
25:32. Mi says," It looks difficult, but
25:34it's not easy. "Uh,
25:36>> well, yes, let's see. Go.
25:39>> Uh, well, and you have to put it
25:41together. I do see that a lot, a lot
25:43with guitarists out there who are more
25:45into the accompanying style. There you
25:48say," Well, play such a theme and they
25:50play it in any key with all these crazy
25:51turns. They break it. You're half a
25:55step away from improvising. If you add
25:58that a little bit to the scale and the
26:00triad,
26:02>> what would that be like then? Let's see
26:04, we'll see,
26:05>> right? Uh, let's see how it would be. I
26:09don't know. A minor.
26:10>> Stealing,
26:11>> stealing everything. Yeah, it's okay.
26:13Let's see, triad, you relate, for
26:17example, the drawing of the chord with
26:19the notes describing the triad, for
26:21example. Let's
26:22>> see, let's say, uh, it would be more of
26:24a visualization job if you want. Yes, I
26:26don't
26:27>> know how you see it, but I see the
26:30chord and many see the scale and the
26:34scale is sometimes a hybrid because it
26:36doesn't draw much. On the other hand,
26:40the triad does, obviously it draws the
26:42chord perfectly with passing notes that
26:44we take from the scale if you want.
26:46It's not complicated either. a lot. For
26:48example, the second one, did you see
26:50that it's used a lot in the chipsi?
26:52>> Yes, yes. Which is, for example, how a
26:58military taquito starts. Tar
27:00>> Exactly. I say that, the phrase of a
27:02military taquito with some detour, for
27:06example, the tonic or the third. But
27:12the passing note always goes from one
27:14of the triads to the other. For example
27:16, in this case, first, third, we go
27:17through the second. Or we can go to the
27:19fifth through the fourth. Notice, I do
27:22the triad through the fourth and it
27:28ends up sounding, let's say, closer to
27:32a melody than to a triad, which is also
27:35something of a hybrid. So, plus the
27:43detour, let's say we go around the
27:45tonic. And if you give it a couple more
27:53turns, or for example the third as it
27:58is
27:58>> o and you see that as the minor.
28:09>> Good. Did you study that yourself or is
28:11it natural? I
28:12>> bought it already studied. No, it was
28:13already there.
28:14>> You asked for it,
28:14>> right? Yes, I gave it to me. Oh, right.
28:16You sat down to handle all that. Let's
28:18>> see, I mean, you start to see it when
28:20you study it, you start to see it.
28:22That's what's good.
28:23>> And also, uh, the triad has something
28:25that, like, unintentionally, you lower
28:27the price because you say, "Tria, I'm
28:29playing the note of the Court, three
28:31notes of seven notes,
28:33>> you want, of course, you want, no, to
28:35put in the ninth, not a major, all that
28:38is great, but if you hold on to the
28:40previous triad, you have a good base so
28:42as not to fall short at least that's
28:44good, you see? So, and you have aside
28:48what is practical. I love that I have
28:52an audience that confirms everything.
28:54And this is
28:55>> all paid for. It's
28:57>> all paid for. Yes. This, we have to put
28:59, right? An audience applause,
29:00everything. You have to edit that, put
29:01it in.
29:01>> Yes, yes. Now we're going to put a stop
29:03there. It's great, huh? No, then you
29:09also have to put awareness of what
29:10you're playing into that work, because
29:12we viol players are very much into
29:14drawing and repeating the drawing, so
29:15we don't really know where the tonic is
29:17. Well, the tonic, yes, but in other
29:19colors, you know? So, if I'm aware of
29:26this and I say, well, I'll move the
29:28third to a major now and the same with
29:35the fourth, putting it on or forces you
29:44to study from a place that's not so
29:46much about drawing and repeating, but
29:48rather doing more mental work. And
29:50that's related to the chord. So, I
29:52don't know, you come to accompany.
29:54We're going to do a set, right? The
29:58circle of fifths. Yes. I'm thinking of
30:21the triad with the passing note, it
30:23could be the second or the fourth and
30:25no more than that. Then, well, you find
30:28your own twists, your own phrases, for
30:30example,
30:33>> I don't know, but don't make it
30:35something structured, you take it from
30:37a logical perspective. With this base,
30:41you can start working on the Salainas
30:44theme. I'm thinking about the second,
30:51fifth, and first, and I have my second.
30:56Are we doing well?
30:57>> Perfect. Tell
30:58>> me. I'm just
31:00>> writing everything down.
31:01>> Okay. I'll look at it again
31:02>> later.
31:03>> Let's go. Good. Very good. But I see
31:06this second one as if it were a G minor
31:09. I don't know if you see it that way
31:12too.
31:12>> No, I don't understand that you can
31:14replace it. It could be a G minor
31:15playing, accompanying the odigo because
31:17it has the same function.
31:18>> Sure. Well, the key is the function. I
31:21mean, let's say the rough data that you
31:24can start with is that, having the
31:27functions very clear and this triad,
31:31right?,which is major and minor with
31:34their make-ups, let's say. So, and I'm
31:41doing, look, the G minor. 1 2 3 1 2 3
31:46with its Okay, there's a harmonic if
31:53you want or the triad with the seventh
31:59with L. So, and there I'll go back to
32:09the...Of course,
32:11>> if you think about it for half a second
32:13, this logic doesn't escape what it is.
32:16Let's go to the third of D and we're
32:18going around it, but with thirds and
32:26I'll go back. Same thing. There I'm
32:31already thinking that I'm going to the
32:33fourth to go to the third of G and
32:38there nothing. Melodic scale. I
32:47>> could go somewhere else, who
32:53>> knows. But also think that the solo is
32:58just starting and you're not going to
32:59...
33:00>> Yes, yes, that's
33:01>> fine. Let's go.
33:02>> Yes, yes, yes. I really like what you
33:05say about how it's good to understand
33:07the drawing, but that you also start to
33:09study it consciously, to think about
33:12what note you're going to choose to
33:14play or what note to study, the fourth,
33:16the second, or be aware beyond the
33:18drawing. The thing is,
33:20>> whenever we study, we study from a
33:22little drawing, and that's where it's
33:23like a
33:23>> violinist's grid.
33:24>> Yes, a real
33:25>> violinist's grid,
33:26>> but thinking about what note it is, not
33:28so much. And that's also the key for me
33:33to be able to understand that, look,
33:39what we were talking about, well, I
33:42don't know if we talked about it, but
33:45the issue of functions, tension, and
33:48rest would be, right? So, in the triad,
33:51you have, obviously, that the triad
33:53within the string is all rest and the
33:56passing notes are tensions and the
33:58melody and everything, well, music in
34:01general, I don't want to talk without
34:03knowing, but it's based on that in
34:05general, that tension. So, and it's
34:17stepping next to the triad. Well, here
34:21I'm just playing with the fourth and
34:24the third. Same here. Well, augmented
34:27fourth, but because the chord gives it
34:28to you, that is, the scale like this.
34:42You see, I mean, well, what do I know,
34:45I don't know, I like that and I found
34:47that little color, let's say. I don't
34:51>> remember what I do. And this is very,
34:56honestly I don't know where it came
34:58from. My old man,
35:01>> the swing that you give it there too. I
35:04don't know if it's pianistic, I don't
35:06know exactly,
35:09>> but it's not the same thing to do. It's
35:11more subtle and all that. Here I'm also
35:21thinking, I mean, I'm going to the
35:27tonic. And a passing note to go to the
35:34third of E. It's all a roundabout way.
35:41There's the third A minor. But taca
35:44taca taca taca taca taca taca taca. So
35:58here I can honestly tell you what I
36:00think I thought, because I don't
36:02remember either, but here this typical
36:04little rise that actually goes up is
36:09>> or I put chromaticism there.
36:10>> Sure, because nothing,
36:12>> it's really good,
36:14>> kind of bluesy if you want. Yeah, you
36:16>> see, like Steve Ray Bogan, you heard
36:18that, you like it. Well, you saw that
36:20the chamón
36:24>> put influence.
36:26>> Yes. Well, then there is the earth. I
36:33anticipate a little bit because the
36:36surprise is also good and from there
36:38comes like that anticipation, like that
36:43, let's see, that different beat. I'm
36:53following it now, right? Then it's
37:00again, it anticipates this second one,
37:03again, and then it repeats the turn and
37:06this, that's already a unite that I'm
37:10kind of pissing repeating. And then
37:17when we go to D, instead of going to
37:20the right tonic because it surprises, I
37:24don't know, it's
37:25>> really good. Yes, that ma 7 there. Of
37:27course, you're always waiting for it to
37:29fall and it never falls where it has to
37:30fall. That's the beginning. That's what
37:37should happen, right? And when we go to
37:43the tonic, the superdominant and it's
37:51and that chord, for example, that minor
37:53maxide that over R minor, would you
37:55also study it, would you describe it
37:57melodically? Do you study describing it
38:00melodically or do you only think about
38:01it chordally? Sure, no, if I wanted to
38:04play on top of that and I had to draw
38:06it, I would be playing the arpeggio of
38:09A.
38:12>> You would play the arpeggio of A on top
38:13of that R minor.
38:14>> Sure.
38:14>> Oh, your thoughts are
38:16>> totally off.
38:17>> Look, that's a crazy idea to think
38:19about superpositions. Didn't you learn
38:21that from that branch or did you or did
38:23you get it because you...
38:24>> No, no, no, no. I'm sure I stole it
38:26from somewhere, but no. I mean, you see
38:29a minor and, for example, this R minor
38:31and you would make the relationship,
38:33you would play the A in this case. Yes.
38:35>> Then you also know that it gives you
38:37the ability to write it in a cipher
38:39because many times you write, for
38:40example, this D minor that you want
38:42with a ninth and a major seventh, you
38:44end up with an A major with a bass in
38:45D. No, I don't know if you've seen it
38:49like that. I've
38:49>> never seen it like that, but I can
38:51visualize it like that.
38:52>> Yes. It's crazy. This, I remember when
38:57Pat met you. Yes. Well, there were some
39:02notes that I heard very much like him.
39:05Well, that happened to me too, but
39:07there was a point that was, how was it?
39:11How was it? Ec. No. Uh, tremendous,
39:27tremendous. Of course. And there you
39:35hear like an implicit is, you see? He's
39:41not playing everything. That's also why
39:45the triad seems closer to the color
39:47that I'm hearing around here. A scale,
39:51I don't know if you'll see, I'm sure
39:52you'll find it, but the scale has
39:57another color. It draws other notes and
40:00in order for that scale to reach you,
40:02you have to sound it with its seven
40:04notes and and one note in the arpeggio,
40:13it seems to me it's closer to that
40:15color. Well, because it's a chord too,
40:16right?
40:16>> Of course. Yes, yes, yes. But well,
40:18here it comes, if you want, the
40:20superimposition, which would be an E
40:23major, an A minor with an E major above
40:25, which would be like a pass that if
40:28then it doesn't end up sounding because
40:30it's not sounding in A minor either,
40:33let's say, I draw it more there; and in
40:41the king, well, the same thing there,
40:45that what ends up happening is that:
40:46that in the same chord generating
40:48tension is the same as there resting in
40:52the triad. So not this second one that
40:58I love instead of this one. and it
41:23closes like a chaca, you know?
41:24Tremendous. It's
41:26>> good.
41:26>> We have to close the stadium.
41:28>> Tremendous.
41:29>> And then comes that stirrup.
41:34>> I don't know exactly. I think my old
41:38man did a little bit of that with...my
41:43old man did...He liked
41:45>> the palmut. I said the palm.
41:47>> Yes. With the chacas, you know? Well,
41:54then this that
42:04>> I love that I don't know who invented
42:06this. Sure,
42:07>> but who invented this?
42:09>> Oh, yes, I don't know. And that's it.
42:19Okay, so we can say that as advice for
42:21someone who says," Hey, as I'm
42:22answering a little bit about this
42:24question that I'm asking you, how is it
42:26to improvise on this music, for example
42:28, how does it apply to this system of
42:30thought? Do you apply it to all of this
42:32? Let's say, well, start with the triad
42:34, uh, and try to make that relationship
42:36of visualizing the chord together with
42:38those notes that describe it and then
42:40you start to continue being aware of
42:42the other note that you're adding some
42:43note to. That's good, you know? Because
42:46that's what we're talking about today,
42:47that we violinists are really into
42:49drawing, you know?
42:50>> Full drawing. Yes, absolutely. And
42:51you're always aware, in your way of
42:53playing, of the note that you're
42:55playing. You're, you're aware beyond
42:57the fact that you may have some very
42:58studied and already automated fact. You
43:01always try to know what you're going to
43:03make sound, let's say. And it also
43:06seems to me more, I don't know, easier
43:10to access. I don't know how to explain
43:12it. Uh, you have the triad and put it
43:20that you have it associated, put it to
43:23the minor scale of A. And now here
43:25comes me, a drawing where you have to
43:28play the melodic. So, bye, leave what
43:32you learned and grab another one and
43:34stop. And if this is in there too. Then
43:36, change a note so that it has to do
43:38with the melodic, which would be the
43:40major seventh and the major sixth. If
43:42you are aware of the alterations it has
43:44, major seventh and sixth, then you add
43:50a little data to the drawing that you
43:53already have prepared. If not, you have
43:55to learn again from scratch.
43:56>> Sure. That's great. Sure. Yes, yes.
44:00Besides, you're right, it ends up being
44:01more accessible to start incorporating
44:03other data later.
44:04>> And also that you can use your phrases,
44:06otherwise every time you play with a
44:08new chord, you have to start from
44:10scratch. I'm not saying this is bad,
44:14it's great, but it's like a kind of
44:16wild card, you see? A little template
44:18that already sounds like it. Sure, sure
44:20. Yes, Mariano. And in the
44:23accompaniment part, for example, you
44:26have the resources systematized to do
44:29the work of arranging, reharmonizing,
44:32or there you are much more intuitive. I
44:35mean,
44:36>> you say, I'm going to use an inversion,
44:38I mean, you are aware of that or the
44:39tensions, let's say.
44:41>> Yes. Well, yes, at first you start with
44:44what is intuitive, then the more you
44:46play it, the more you put it together.
44:48If I have to sit down to put it
44:49together, I look for some variation,
44:55but always searching, let's say,
44:58exactly that, to accompany, with Paloma
45:01and I, we have some prepared songs that
45:04we are now going to record. For example
45:08, I accompany Malena who sings it
45:10wonderfully and I do some things, you
45:13know? Also, I am realizing that they
45:17are, uh, what is the word for it? No,
45:21yes, inspirations from other versions
45:22and things that I listen around and
45:24find the place to put it, which I love
45:26because I remember this one, for
45:27example, the version that Lito did with
45:29Salinas, I don't know if you've heard
45:31of Malena.
45:32>> No, not that one, but I've listened to
45:33several.
45:33>> Oh, you have to listen to something,
45:34that's spectacular. They even did it.
45:36>> Yeah, deadly. Lito's album, "Collecting
45:39Souls," huh? Or for example, there's a
45:41version by Juárez in Encuentro en el
45:43Estudio. Rubén Juárez.
45:44>> Yeah.
45:45>> The guy plays some stuff and you get
45:48information from it too. I can't quite
45:50bring it
45:52>> out because it is something else, but
45:53it's clear that little things do
45:54inspire you. For example, you saw that
45:58Maglena is, uh, second fifth for it's
46:02always second fifth, right? Juárez
46:06makes the circle of fifths. He changes
46:14a little bit for it and that little
46:17turn is deadly. Well, I do something
46:20like that with a stick and there I put
46:24in some agreement that I like. Well,
46:26let's see, look, I'll show you. How do
46:31we do it? I'll do something else for
46:43you. F. Okay, okay, major part. Stop.
47:19Ah, farí. It's beautiful. And here, as
47:41I accompanied it, I added little things
47:43, you know? For example, I love that
47:46the bass, you know? has movement. That
48:06too. Well,
48:08>> tremendous. It's
48:10>> good, it's good.
48:11>> Tremendous.
48:11>> But these chords, you know, they're
48:14>> from another universe out there?
48:15>> Yes, yes. And those chords, how do they
48:18come from having heard them? Because
48:19you say, "I'm going to put it in
48:20consciously or not." Or are they
48:22already very much ingrained in your
48:23head, in your sound and you say, "
48:25>> Look, I don't know exactly where they
48:27came from, but, for example, Iván Linz
48:31is a school of beautiful harmony that
48:34is unbelievable. This, that chord is
48:38really good. Besides, what would that
48:40be?" Let's see, let's go to B. If you
48:42have to describe it there, we
48:44>> can say two things. Easy to write,
48:46>> to venture something.
48:47>> Yes, major with bass in G, but that's
48:49to write it in the chord chart. But in
48:52reality, it was a G max 7 with an
48:54augmented fifth and it works well here
48:57because precisely the original harmony,
48:59let's say, would be C7.
49:02>> Ah, you replaced it with a C7, that is,
49:05the structural, let's say. Sure,
49:07because this is mord and I'm telling
49:25you I already have it half incorporated
49:28, but what I'm doing would be the minor
49:30would be a D. Let's see, D 7 with a
49:36flat ninth, but instead of the A
49:38seventh, the thirteenth would be. The
49:43chords that have the entire triad on
49:45top have like a different color, you
49:47see? If I did this one, it wouldn't be
49:50bad either, but this one has like a,
49:58you see, like a different beat
50:01>> and when the G comes I still keep the
50:04upper triad. Our dear Lucho also did
50:09that. There's a cueca too, you have to
50:12listen to that. Um, the crazy cueca.
50:17That's how it is. call.
50:18>> Yes, over there. Imagine, it has a lot
50:20of data. That in the stirrup that they
50:23start to peel, that there Victor and
50:25well, at the time it was Baraj, who
50:27broke it all, the stirrup was Well, all
50:40that data, of course, is...You've
50:42>> heard it a lot too
50:44>> and I have it at hand. Yes, yes, it's
50:45the one that I like over there.
50:47Sometimes,
50:49>> uh, other chords go over there, you
50:52know. I get those too. Tremendous,
50:54tremendous, tremendous. You're not
50:57always analyzing your head when it's
50:58time to be the creative part, let's say
51:00, of...
51:01>> No, let's say, it depends on what,
51:02right? And I already have quite a bit
51:06of my language, if you like, but it's
51:08good to listen to something and find a
51:10way to turn it around, to see how to
51:12give it a little twist. That's
51:15obviously always a bit of work. This,
51:19but for example, one thing that I had
51:21to work on a lot is a job that I did
51:23with the witch Salguero, uh, where
51:25there I had to use the midi pedals, and
51:28what do I know? I don't know if you
51:32heard anything, but there's a song
51:33that's beautiful, but it's quite simple
51:36, harmonically, and there I took the
51:38opportunity to add some
51:40>> choreography from various places, but
51:42with this imprint of the triad, you
51:44know? What's it called? Do you
51:50>> have that one?
51:51>> Yes.
51:52>> Well, I'm not sure if it is originally
51:54so. But it keeps going up. I don't
51:59remember.
52:00>> Well, the harmony. Well, in the second
52:10one I added this, I
52:14>> mean, I respected the chord, but I went
52:15down better. You know, and this is nice
52:40. Originally it goes to two, you know?
52:48Well, what did I do back there? I
53:03>> mean, you replace C with L and that
53:04goes to several. Now I'll throw you
53:06another one. It's good, it's good.
53:20>> Awesome. You
53:21>> can really chop it up.
53:22>> That's awesome, awesome.
53:23>> Oh, no, that's what you were telling me
53:25. There are several places where it
53:27comes in, uh.
53:30>> But in principle to solve an A to A
53:32dodo, it came in great
53:34>> because you're not clashing with the
53:36Melo. You
53:37>> take that into account when making
53:39those compensations.
53:40>> Sure, sure.
53:46>> You see? It's surprising.
53:48>> And then you go down. Yeah, it's good.
53:54And this is nice. And
54:02>> these chords are open like this.
54:04>> Here you have another triad, you see?
54:07>> And how would you describe that? You
54:09describe that chord melodically and if
54:11you have to play over it, make it sound
54:13melodically.
54:13>> How do I make it sound with the Melo?
54:15>> Sure.
54:16>> And I see this, let's see, I'll tell
54:18you what I would play. I would play an
54:22E relative major.
54:27>> We're two sharp. Let's see, the
54:31arpeggio of E has the major seventh
54:35that makes
54:36>> the ninth sound here.
54:38>> Sure.
54:41>> With and with the rodeo.
54:44>> That rodeo killed me, man. You didn't
54:46have it.
54:46>> You
54:47>> made me sick with that.
54:48>> Come on. It's still
54:49>> deadly, isn't it?
54:50>> Tremendous, tremendous, tremendous.
54:52>> And if the and if You start to analyze,
54:55when you start doing rodeo, rodeo,
54:57rodeo, rodeo is beautiful.
54:59>> Besides, it's nice to study it, you see
55:01? That
55:01>> Y is and besides, what's good about it
55:03is that it's very simple. For example,
55:05the minor tonic, third, fifth. rodeo,
55:11low with the thinking of the triad, but
55:20surrounding.
55:21>> Sure, great.
55:24>> And if I want to continue along those
55:34lines,
55:37>> always starting from that concept,
55:38let's say. Sure. And let's say you have
55:42your target note that also when
55:44improvising, since you're free, you
55:47don't have anything set up, so to speak
55:50, uh, with a chromatic and and you're
55:56already playing with notes that are, so
55:59to speak, outside of the scale, it
56:01gives you more freedom too. Sure, sure.
56:05And besides, it's a color that's not
56:07really good. But if you put this
56:11together with the chord, you can use it
56:13a lot to accompany.
56:15>> Sure, sure. In fact, you use it too. I
56:17mean, you take out the two datas, let's
56:19say.
56:19>> S. Yeah. I don't abuse it either
56:21because I could always have it on hand.
56:23If you have to shoot.
56:25>> Yeah. For example, right now I'm
56:28recording some stuff and I put a lot of
56:31this in, although I do the melody and
56:34accompany myself, I also fill in some
56:37little gaps.
56:39>> What do you mean, do you remember? It's
56:42>> an arrangement I have of solitude.
56:45Start. Here. What? Oh. No, I can't
59:23believe I'm listening to it here in the
59:25living room,
59:26>> man. Awesome. Can you listen to that
59:28somewhere or do you have it recorded or
59:29uploaded? I
59:30>> have it recorded, but it's going to
59:32come out soon. What's
59:33>> the idea? Are you putting out like an
59:35album of your own, all instrumentals?
59:38Awesome, how awesome, how nice, man,
59:40man, you're really great, seriously.
59:42Well, but look, well, in the end I
59:44played it all, but
59:45>> the idea was, not to show a little bit
59:49because look, at times, this part
59:55>> without support and more than the theme
59:58of solitude, let's be...It's meaningful
1:00:00. So, just the candle and I'll start
1:00:03accompanying. I'm doing it super
1:00:13separately, I mean, I take my time too,
1:00:15right?
1:00:15>> Obviously, obviously. Yes, yes. There
1:00:17is another way of arranging that is
1:00:21more like that,
1:00:27>> and then with the bass, everything
1:00:29sounds absolutely phenomenal. I like it
1:00:32better when it's something more
1:00:33rhythmic that you do need to carry, but
1:00:36here you have time, and it's really
1:00:38>> romantic.
1:00:38>> Yes, it's good. You're
1:00:40>> romantic, aren't you?
1:00:43>> Look behind the camera,
1:00:44>> more or less. Listen, uh, well, tell me
1:00:49there. Time is a tyrant. I'd
1:00:53>> love to be able to talk about
1:00:54everything, but I'm going to commit you
1:00:55in public so that you can come and
1:00:56stream.
1:00:57>> Go ahead.
1:00:57>> With Paloma.
1:00:58>> Go ahead. Both of us.
1:00:59>> Because you know that many people, you
1:01:02have recorded a video, uh, I don't want
1:01:04to lie to you if it's not a chamamé.
1:01:07>> Sure, chamamé.
1:01:08>> Well, and you know that apart from the
1:01:09fact that they've already asked me 1
1:01:10times to invite you, every time I
1:01:11upload a video, When is Mario Delgado
1:01:13coming? Well, Mariano Delgado is there
1:01:15now, but I've been asked a thousand
1:01:17times to analyze the video you two have
1:01:19.
1:01:20>> Oh, it's probably
1:01:22>> one where he's playing a chamamé.
1:01:24>> Oh, a little distance away.
1:01:25>> I think so, but I have a thousand
1:01:27messages to analyze that. Even in the
1:01:30streams, someone throws it out there,
1:01:31you know? Lost appears and says, "Hey,
1:01:32when are you going to analyze that? I
1:01:34love analyzing things.""So I would like
1:01:36them to come before the end of the year
1:01:37.
1:01:37>> Come on.
1:01:38>> Let's eat, let's have a drink. It's
1:01:39difficult, Palo, because you saw that
1:01:42her schedule is very full.
1:01:44>> Well, maybe she can make room in her
1:01:46schedule before the year ends.
1:01:49>> Mariero, how many hours are you
1:01:50studying per day now? How are you doing
1:01:51with that? Are you organized with that?
1:01:53Do you dedicate a certain amount of
1:01:56time to it or
1:01:57>> not? No, sometimes I have a period
1:01:59because sometimes I have to work more
1:02:01on the computer and do productions, so
1:02:03I'm there more, but I miss putting in a
1:02:06little bit of effort when, as I was
1:02:07telling you, I was giving it, you know,
1:02:10to the three of them.
1:02:11>> Yes,
1:02:12>> sometimes I put on a video on YouTube
1:02:14to goof off for a while, but I don't do
1:02:16this one because I can't hear the video
1:02:17. I have the silence, you know? The
1:02:19llama has no body.
1:02:21>> So, I give it there with prayer, but
1:02:24well, I give it there. And you study
1:02:27with a metronome, things,
1:02:29>> right? But there are to do it. No, but
1:02:31you have to do it. You
1:02:32>> never study, I'm like,
1:02:34>> right? Uh, I mean, what I do to study
1:02:36is, for example, that little solo of
1:02:39the heavy, study by putting together
1:02:42those things, uh,
1:02:44>> on a bass drum.
1:02:45>> Yeah, maybe playing on top of that, you
1:02:47know, improvising a little.
1:02:49>> Yeah, of course. But let's say the
1:02:53study that I do more than anything is
1:02:56trying to find music rather than, uh,
1:02:59repeating phrases or, uh, doing
1:03:02something fixed, because at the same
1:03:04time, uh, unintentionally, you end up
1:03:07applying that later, you know? When the
1:03:10time comes to improvise, you're going
1:03:11to peel off what you do best and if you
1:03:13put that in and you're going to play
1:03:15that. So I would prefer to study some
1:03:18>> other things instead, or perhaps
1:03:20reflect a little bit more. For example,
1:03:24this, the superposition of arpeggios,
1:03:26you study that, it's a rehearsal and
1:03:28it's good to arm yourself with little
1:03:30things, you know? I had put together
1:03:32something there with, uh, C and D. my.
1:03:37So, but it's very tight with the right
1:03:40hand because, look, I play with these
1:03:43three and you repeat that little
1:03:47drawing and there you're playing C max
1:03:527 and here it's already E minor. Which
1:03:56makes you a C. Apart from with a ninth,
1:03:59with a seventh with a ninth.
1:04:01>> Oh, and you study that connection,
1:04:03let's say, that
1:04:04>> Sure. So, and I put it together so that
1:04:07it has more effect, speed, putting it,
1:04:11right?
1:04:16>> Sure, it's good. And or put this one
1:04:19that is mortal, uh, semi-diminished,
1:04:23which if you want, I really like to put
1:04:25this one in. Did you see that in the
1:04:30same chord we were talking about
1:04:31putting tension in it?
1:04:32>> Well, then notice that here an E is
1:04:37formed above an A minor, which is what
1:04:41we're reading today, do you remember?
1:04:43But on this then, wow, and there, what
1:04:49are you playing? Undo that for the love
1:04:51of God.
1:04:52>> For giving me a chaina I ask you.
1:04:55>> Look, there it was. semi-diminished.
1:04:59>> Clearly.
1:05:03>> There I am already going to E major. I
1:05:10mean, it's one of F semi and E major or
1:05:15E B. Uh, let's see. No, no, triad,
1:05:21>> triad.
1:05:23>> There I already went to the tores, but
1:05:32what I think, I mean, I made it so that
1:05:35this one doesn't suffer so much, let's
1:05:38say. Well, there are two notes on one
1:05:41string, one on the next and another on
1:05:44the next. It starts again. But I make a
1:05:46note above, one in the middle and two
1:05:48below. And those that are on two
1:05:55strings I do tied many times for speed,
1:05:59right? It's
1:06:11>> good. I never put them in. But
1:06:15>> but they are there, right? It's really
1:06:18good that it is, it's
1:06:20>> interesting. Let's see, when
1:06:23improvising, let's see if I never end
1:06:24up putting this whole phrase in, but
1:06:26maybe you put a little bit of that, you
1:06:28see?
1:06:34>> Sure.
1:06:35>> Oh,
1:06:40>> but you have it available now. Yes, the
1:06:42and because I have it grabbed there
1:06:45from the D or semi or A minor, or Okay,
1:06:49tension function to go to the E, put it
1:06:52together with what I do with the A
1:06:55minor. Put it there, I know, you take
1:07:00it apart and continue with the A minor.
1:07:12>> Bad, man, bad. But hey, it's easy to
1:07:15understand.
1:07:17>> Yeah, yeah, that's really good. Eh, I
1:07:19love the way you focus on it and
1:07:24besides, eh, I didn't know how to think
1:07:25about that and I hear that sonority, I
1:07:27mean, this is going to jump out at me
1:07:29with the secret scale of San Nicolás,
1:07:31you see?
1:07:32>> Sure. Okay, stop. Well, there, there.
1:07:34>> But it's tremendous. I mean, since you
1:07:37probably have your secret scale, but I
1:07:38mean, how can you focus, you see, since
1:07:40I
1:07:41>> have a secret scale? What is it? From
1:07:45focusing, you see? From very simple
1:07:47things, how do you make it sound with
1:07:48that?
1:07:49>> Well, and you don't get tangled up,
1:07:51>> maybe you do, but now, at least with
1:07:52what you explained, you don't get
1:07:53tangled up in things,
1:07:54>> right? But, for example, the scale
1:07:56altered which is a bow or the scale,
1:07:58you saw that it is half semi-diminished
1:08:01, half tonal.
1:08:01>> Yeah, I don't know that one.
1:08:03>> Well, say, I don't know, half a tone
1:08:08off, a bit altered, or is it other?
1:08:10What did I say? Yes. Altered. Ah,
1:08:12altered. Yes. Well, any
1:08:21>> melodic.
1:08:21>> The melodic half a tone back.
1:08:23>> Sure.
1:08:24>> But if instead of playing the melodic,
1:08:27you play this minor note with the
1:08:30passing note and you add those, then,
1:08:33what do I do? Eh, we're going to mess
1:08:43it up, but I can play the, let's say,
1:08:52the 7th 13th I'm playing if we see the
1:08:55minor with a tremendous detour. It's
1:09:05good.
1:09:06>> Sure, you move it, but the resource was
1:09:08once again the element of the material,
1:09:09the old and well-known detour.
1:09:12>> Exactly. What you have to be clever
1:09:14about is where you fit it.
1:09:16>> Sure, sure, sure, sure.
1:09:17>> But, for example, it solves things for
1:09:19you, you see? For example, uh, how was
1:09:22this? Eh, photography. What Do you have
1:09:25the topic? No. Say, oh, he touched on
1:09:57that.
1:10:05>> It's a single resource, but you have to
1:10:06...Sure,
1:10:07>> yes. You have to study it and then be
1:10:09aware of where it goes. But tremendous,
1:10:12Mariano, very interesting. I hope this
1:10:15is the first of many that we do
1:10:17together. I would like, well, for you
1:10:19to come to the
1:10:19>> Sunday stream before...
1:10:21>> I have to ask because...Do
1:10:23>> you ask the manager? Uh, let's see if
1:10:25they allow us. There are a couple of
1:10:27hours because there we can...people,
1:10:29it's good, did you see that many, as I
1:10:31was saying, many people ask me for
1:10:33Mariano to come, for Mariano to come,
1:10:34well, that they ask you questions, they
1:10:36deposit, obviously.
1:10:38>> that they deposit, we put this alias...
1:10:42>> No, seriously, uh, the truth is that
1:10:44that's a phenomenon, I loved it. We
1:10:48still have a martial arts podcast
1:10:49pending so that the other passion that
1:10:51the...
1:10:53>> because there are plenty of guitarists,
1:10:55but guitarists who like martial arts,
1:10:56report back. Uh, he's also a great
1:10:59expert, he not only knows scale, but he
1:11:01knows...You know the drill.
1:11:04>> After I broke my first guitar on top of
1:11:06my head, I said," No, I have to study
1:11:07martial arts. "
1:11:08>> Anyway,
1:11:09>> man. Well, Mariano, thank you so much
1:11:11for being here, for sharing all the
1:11:13information,
1:11:15>> right? It was a total pleasure and,
1:11:18>> seriously, I loved listening to you,
1:11:21huh? Well, it's an honor for me,
1:11:22seriously, that you're sitting here at
1:11:24my home link. I used to watch your
1:11:25videos, man. I mean,
1:11:26>> me too.
1:11:27>> Nothing. So it's really good, huh?
1:11:31Nothing, sharing this here and I always
1:11:34think, you know? That guitarists are
1:11:38sometimes a very lonely path, you know?
1:11:41So, I think it's really good that you
1:11:43come here to, let's say, to contribute
1:11:46all this that so many years of work, of
1:11:49knowledge with this generosity, huh,
1:11:51just to make the guitar community
1:11:53bigger and that everyone can take
1:11:56something away. No.

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