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Minor: Actually, those are my pajamas. As to which palo this works for - it's basically an exercise, and I've never thought what I could fit it into...
Andy: Ole hombre!
ToddK: Gracias amigo! I'm so far off though... Need to get some more practicing done, but just too busy!
Posts: 1827
Joined: Jul. 26 2009
From: The land down under
RE: Anyone want technique exercises?... (in reply to rombsix)
Part of El Entres system for practicing technique is practicing many different combinations of arps, thumb work, rhythmical strumming patterns, tremelo etc..over chord patterns. One of the patterns is taken from Villa-Lobos study no 1.
Here is a photo of some notes i made from when i had classes with him. I wrote them out quickly in a way that only really makes sense to me. I have about 5 pages worth but they would be confusing for anyone else to look at.
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Posts: 1827
Joined: Jul. 26 2009
From: The land down under
RE: Anyone want technique exercises?... (in reply to rombsix)
The idea is to practice the technique over the chord groups. All possible combo's of arps, tremelo, etc... Manuel Granados uses a similar system in his book titled, Estudio tecnico de la guitarra Flamenca. For example,
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Posts: 1827
Joined: Jul. 26 2009
From: The land down under
RE: Anyone want technique exercises?... (in reply to rombsix)
The exercises he taught me are the same ones they are playing in the videos of his new school. Same solea and alegrias as well. He also has many exercises for picado and left hand ligados. Similar and equally effective exercises are all in Manuel Granados, Estudio technico de la guitarra flamenca book.
RE: Anyone want technique exercises?... (in reply to mezzo)
Ramzi and Mezzo, you've made me very happy!!!
Just one thing about the p-i-m exercise: In the sixth measure, when you play the D/F# chord, the last note in that measure is an A on the third string. It works better if you fret that A with your middle finger because it will free your ring finger for the next note, which is a G on the sixth string (notice the little number "2" in the transcription). It might seem uncomfortable or difficult at first, but it's an easy move that fits smoothly into the rest of the pattern without compromising volume or momentum.
The new site (www.canteytoque.es) is the one that I'm updating. The CTV site has been adrift since December and I'll eventually let it go. I've still got a lot of work ahead of me to replace all the crappy GIF images on the new site (including that alzapúa exercise, which, by the way, can be used for a bulería with toque de granaína), and I hope to get that done soon and upload some new material that I've been working on for the last few years.
Thanks guys!
Kris, that's an excellent idea, using the same chord progressions for different right-hand patterns. I play the Villalobos etude a little differently, but I've never seen the score so I don't know if my version is right. But I like the chords a little better my way, see what you think, if you like. The difference is after the A minor barred at the fifth fret.
RE: Anyone want technique exercises?... (in reply to rombsix)
Hey guys! I am combining a bunch of arpeggio exercises together in a gp5 file, including some complete ones of Entri, some of mine, and I am going to make a video showing them also. Between the video and gp5 file it will give you a very thorough arpeggio workout
Later I will do this with picado, pulgar etc
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Sometimes music is all you got in this world. Why do I create music? Because there was a time when I had nothing, and music kept me alive.
The first time is played all apoyando. The second time is tocao sin apoyar (for the i and m).
Just an unsolicited comment- you aren't playing the bass and melody notes together as written. There's a delay between the two each time you play them. Try slowing it down when practicing to correct this.
RE: Anyone want technique exercises?... (in reply to rombsix)
And here is the first arpeggio
There are 15 of these, distributed over the 3 chord groups. I know all of Entri's, plus I made up my own that I feel really fill in gaps in Entri's system and give the fingers a lot more independence, distributing power over the whole hand. The greatest challenge of the right hand is to make M, A, and X (pinky) as powerful and independent as I, so you essentially have four I fingers
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_____________________________
Sometimes music is all you got in this world. Why do I create music? Because there was a time when I had nothing, and music kept me alive.
RE: Anyone want technique exercises?... (in reply to NormanKliman)
quote:
It works better if you fret that A with your middle finger because it will free your ring finger for the next note, which is a G on the sixth string (notice the little number "2" in the transcription).
yeah i see it now. Thanks. I'm going to "relearn" this
quote:
Just an unsolicited comment- you aren't playing the bass and melody notes together as written. There's a delay between the two each time you play them.
yes I see what you allude to but I done that way on purpose. I prefer when it sounds like that (with delay). In fact for this kind of Pi or Pm play together, i always play it with delay. But you're right the delay may be too long here
And thanks for all that CHORDS
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"The most important part of Flamenco is not in knowing how to interpret it. The higher art is in knowing how to listen." (Luis Agujetas)
RE: Anyone want technique exercises?... (in reply to Chiste de Gales)
quote:
Just an unsolicited comment- you aren't playing the bass and melody notes together as written. There's a delay between the two each time you play them.
RE: Anyone want technique exercises?... (in reply to Chiste de Gales)
quote:
Still another unsolicited opinion: Artistic "Segovia disease" interpretation is just fine when performing.
If you are wanting to work on strictly technical exercises, you are cheating yourself out of valuable practice time by playing that way.
Rant is over. Im really not trying to start an argument.
No argument here. The occasional anticipation of a bass note, done consciously, can be an effective expressive device. 'Segovia's Disease' was a term that used to be used - tongue in cheek - to refer to the habitual (therefore unconscious) splitting of bass notes from melody notes that are meant to be simultaneous. As you say, not a good way to work on technical exercises (unless you really want everything to be that way).
The principle is: in order to focus on the right hand, keep the left hand simple. You could use any chords, as long as they don't distract you.
Giuliani keeps it simple by demonstrating the patterns with just two chords, which are guaranteed to drive you bananas in a short time. In order to use a longer sequence such as the ones that Kris and Evan have kindly shared with us, it's necessary to memorize them first. (IMO)
RE: Anyone want technique exercises?... (in reply to rombsix)
It's been a while since I posted a technique video. Here is a quick one about how to practice to improve alzapua. Sorry about the sound quality. MovieMaker destroyed it when I imported the file.
RE: Anyone want technique exercises?... (in reply to rombsix)
Thank you Grisha very helpful video thanx for sharing and spending the time doing it but I have a question I couldn't figure the technique you're doing on the minutes ( 2:15 => 2:32 ) is it a triple Rasqueado with I and P thanx again