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That darn picado
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El Kiko
Posts: 2697
Joined: Jun. 7 2010
From: The South Ireland
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RE: That darn picado (in reply to John O.)
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Yeah the picado problem that I also suffer from , I.M. ony goes up to a certain speed with me , but I remembered talking to a flamenco player in Spain about his picado , the was fantastic , and he said its mainly I,M but his third finger gets thrown in there sometimes but even he is not sure when.. so I do that now , a lot of I. M , but the A goes in I think when I'm going to change string, I do this to make it more natural for myself as I noticed it's difficult for me to stop using my third finger, if fact A,I , and M, I are nearly the same for me... However I'm talking at a lower level of playing for myself having seen you vid examples. I still have lot of trouble speeding up my tremelo and I was wondering if any of this has anything to do with my M finger being a lot longer than the others , and comparing hands , it seems we are not all created equal after all .
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 28 2010 20:45:03
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John O.
Posts: 1723
Joined: Dec. 16 2005
From: Seeheim-Jugenheim, Germany
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RE: That darn picado (in reply to El Kiko)
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quote:
but also this gives more separation to here the beats , like rasgueado with the thumb, little, and indice to give more separation at ah higher speed. Not sure if I got his exactly - what do you mean by more seperation? My experience is that rasgueado i-m is stronger but i-a is more even. I've seen both done at breathtaking speeds, although I really only use it for triplets in Bulerias. Is that an example of what you meant? I use a-m-i-i also for very slow Soleares where many would use i-m or i-a, spreads out better for me. For 7-8, 9-10 I often use c-a-m-i-i, c-a-m-i-i though. Gives it a nice, rounded-out sound, especially when accompanying cante. I think there's a million variations for everything - it's good to try out a lot in any case.
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 29 2010 15:45:20
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