arpeggio's

Costs are rising and times are tough.
Please consider a donation to keep this
place going.

Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.

This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.

We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.

arpeggio's

You are logged in as Guest

Users viewing this topic: none

Printable Version

All Forums >>Discussions >>General >>

Page: [1]

Message

<< Newer Topic Older Topic >>

henrym3483

Posts: 1584
Joined: Nov. 13 2005
From: Limerick,Ireland

arpeggio's

ive been working on the technique of arpeggio for quite some time now, and i want to ask a major question. how to get that big sound, i bought ricardo's lesson on flamenco teacher a while back and ive gotten alot of benefit from it, re planting and the apoyando thumb stroke.

here's my major question, does the strength as in the pulling of the string power come from the knuckle or the the second joint of the finger. ive been researching this by watching many videos by different artists, and they all seem to have theire own way of doing arp's.

so is it a question of practice,practice etc and your muscle in you hands will naturally get stronger or is it a case of using the strongest joint ie the knuckle to create a big sound?

REPORT THIS POST AS INAPPROPRIATE | Date Apr. 8 2008 11:19:15

John O.

Posts: 1723
Joined: Dec. 16 2005
From: Seeheim-Jugenheim, Germany

RE: arpeggio's (in reply to henrym3483)

Hey Henry!

My source of tension is mostly in the palm of the hand and slightly at the back of the hand just below the wrist, my fingers pull in the direction of the palm, my fingers only bend slightly a couple of centimeters, but it's all three joints working together. The rest stroke gives stability and extra strength.

I don't know if this is the only or best way to do it, but I'd say generally the overall tension coming from the middle of the hand is where the power comes from. Lots of playing will build up strength to help get this tension, like with all the other techniques too. How you stroke, length of nails, position to the hole are all factors, too.

_____________________________

Don't sweat the petty things and don't pet the sweaty things

REPORT THIS POST AS INAPPROPRIATE | Date Apr. 8 2008 11:59:16

henrym3483

Posts: 1584
Joined: Nov. 13 2005
From: Limerick,Ireland

RE: arpeggio's (in reply to John O.)

thanks john for the reply, im hopefully gonna upload a few piece's ive been working on after my exams are over. plus im dedicating alot more time to doing scales of various types.(ie not just flamenco) and just solid technique days.

ive come to the realization i have to master the intrument first, so im spending alot more time on tech, so thats it's now 50% tech and 50% rep.

REPORT THIS POST AS INAPPROPRIATE | Date Apr. 8 2008 15:15:57

Bogdan1980

Posts: 370
Joined: May 23 2007
From: Frederick, MD

RE: arpeggio's (in reply to henrym3483)

Interestingly, Pepe Romero talked about adding volume to the right hand and said that the pressure actually comes from heaviness in the forearm, while the fingers remain as light as can be.

In my lessons I practiced that and found it works. On the other hand if you try to add volume and body from the fingers or the palm it inevitable adds unneeded tension and restricts the movement.

But I'm sure everyone has their own way of approaching this.

REPORT THIS POST AS INAPPROPRIATE | Date Apr. 8 2008 15:59:59

John O.

Posts: 1723
Joined: Dec. 16 2005
From: Seeheim-Jugenheim, Germany

RE: arpeggio's (in reply to Bogdan1980)

quote:

Interestingly, Pepe Romero talked about adding volume to the right hand and said that the pressure actually comes from heaviness in the forearm, while the fingers remain as light as can be.

Well, he was WRONG!

Just kidding. You're right though, it depends on so many factors you can't really generalize it. To do it like me you'd have to have my hand.

Henry don't get too caught up in too much technique. Try getting the two done at once, ie practising escobillas from your rep for arpeggio etc.

_____________________________

Don't sweat the petty things and don't pet the sweaty things

REPORT THIS POST AS INAPPROPRIATE | Date Apr. 8 2008 16:16:52

Bogdan1980

Posts: 370
Joined: May 23 2007
From: Frederick, MD

RE: arpeggio's (in reply to John O.)

quote:

To do it like me you'd have to have my hand.

If we can do that, then I'd rather Paco's hand.

I think the only thing that matters is there should be no tension. All relaxed and fingers light.

REPORT THIS POST AS INAPPROPRIATE | Date Apr. 8 2008 21:02:51

John O.

Posts: 1723
Joined: Dec. 16 2005
From: Seeheim-Jugenheim, Germany

RE: arpeggio's (in reply to Bogdan1980)

I'm sure you know how I meant that, man - I'd rather have Pacos hand too

So yeah it depends on the hand. Gerardo's hand doesn't move at all, Vicente's all over the place, it works for both of them.

_____________________________

Don't sweat the petty things and don't pet the sweaty things

REPORT THIS POST AS INAPPROPRIATE | Date Apr. 8 2008 21:11:31

henrym3483

Posts: 1584
Joined: Nov. 13 2005
From: Limerick,Ireland

RE: arpeggio's (in reply to John O.)

quote:

So yeah it depends on the hand. Gerardo's hand doesn't move at all, Vicente's all over the place, it works for both of them

`

i really do wonder how gerardo gets that crunchy bright arpeggio, looking on the dvd (proably one of the best flamenco purchases ive ever made) his fingers barely move.

seeing some of vicente's vids he plays much close to the soudn hole than his contempories yet get a very flamenco sound weird eh?

REPORT THIS POST AS INAPPROPRIATE | Date Apr. 9 2008 11:36:10