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His technique is beyond advanced - it is without faults when he plays his white guitar. His picado and index down/ thumb up rasgueado are seriously brutal.
In my opinion he is capable of much more than what this rumba stuff lets him do. But I guess money wise it's the best application of his skills.
Yes incredible technique but he just seems to be banging it out on auto pilot maybe a little bland..... the showman is present,nothing wrong with that but I'd like to see some vegetables on the plate not just meat and potatoes . Do prefer Ramzi's find....just my opinion though not dissing anyone else's thoughts. Best pink
Kema is content playing with "The Gypsies". Besides, who needs Kema? We can have the new trio with members of this foro! Plus the substitutes in case someone gets sick. There are a lot of really good players here!
Todd, I have a FaceBook friend who lives in Baltimore that is a speed freak. When he practices he completely owns me in scales. His two finger scale speed is ridiculous. Plus he's a mean picker able to play comfortably above 20 notes per second.
I don't think he's too happy these days because he has no guitar friends in the area. Maybe you guys should get together and scare each other a little!
Todd, I have a FaceBook friend who lives in Baltimore that is a speed freak. When he practices he completely owns me in scales. His two finger scale speed is ridiculous. Plus he's a mean picker able to play comfortably above 20 notes per second.
He can shred. I found him when I was tracing the rumberos from the GK, etc. It looks like the Baliardos believe facial expression while playing is tacky.
This dude is the fastest picado player (2 fingers picado). But grisha's 3 fingers technique is beyond fast. (He can play bumblebee at 300). Just ease up with the boring stuff comments and give respect when it is due. if you think he is boring or can't keep a compas post a video of yourself and scare the hell out of us :) Peace.
Wow, that is some amazing playing. That might be the best picado I have seen yet. Very powerful, clear and insanely fast. Heavy duty material for sure.
Everyone has lapses in compas every now and then, from Paco and onward. It's obvious the guy can play, and that is why I added a smiley with its tongue sticking out after my comment.
His technique is beyond advanced - it is without faults when he plays his white guitar. His picado and index down/ thumb up rasgueado are seriously brutal.
Actually his skills are so exceptional that i seriously wonder if we are dealing with some kind of cyborg, programed to play the guitar. Speaking about cyborgs, at the end of "the terminator" he is trapped into a machine with all kinds of moving parts coming at him. I always have the biggest fun imagining myself one of those moving parts would mark him with the old dutch quality recommendation "Goedgekeurd door de Nederlandse Vereniging van Huisvrouwen" (approved by the dutch assosation of house wives). We also have another famous 90 year old quality mark that approves/seconds the electrical trustability of (semi) electrical machines. That mark is called KEMA KEUR (kema check)......... KEMA KEUR/KEMA .......you know what i mean ( nudge nudge, wink wink)...... say no more, say no more.
Probably the best of the french rumberos. But as far a paco picado copy dudes, again I must point out this guy is not as good as those guys in Madrid. Cerreduela Rey Rosario Banderas etc etc.
But as far a paco picado copy dudes, again I must point out this guy is not as good as those guys in Madrid. Cerreduela Rey Rosario Banderas etc etc.
I am afraid I have to disagree here. Maybe I have to see other picado patterns Kema plays but I think he is right there with those guys as far as picado goes.
The guy definitely made a severe study of (his) biomechanics. When i studied the subject in the late 80ties i came to a similar plan of approach as Kema, but unlike him i never took my findings into serious action.
When i studied biomechanics seriously for the first time i soon discovered that my fingers generally functioned better when i played with relatively stretched fingers. For picado i discovered that my hand/fingers functioned significantly better when the distance between fingers and thump was (i believe) 2 or 3 strings. So in order to play picado the best possible way on the B/E strings my thump idealistically should be positioned on the D string and when migrating from treble>base side my thump consequently should walk from d>a>e string before being lifted the usual way.
When i studied Paco de Lucia he seemed to favor a similar (optimal) distance between thump and fingers, but without embracing my idea to maintain that distance at all times. In stead he favored to keep his thump posted on the lower E-string when playing the treble stings, varying the distance between thump and fingers by "stretching" the thump/hand (playing the various treble strings again corresponded with 3 different stages of thump string contact ......tip only, half planted and "fully" planted in line with lowering/raising the hand). His thump leaves the E string when the picado crosses the G>D area (restoring his optimal/natural thump/finger distance when playing the base strings).
Since i trust my body more then i trust mindless copying of Paco de Lucia i did study playing picado for a wile with my thump migrating between E and D string, trying to find ways to deal with the resulting string/thump interaction the best possible way. Since that was very tricky i never gave it my best shot on the long run and i totally love it that Kema perfected that idea. The way his index seems to be totally still and glued to the string every now and then is totally incredible. All his moves are incredible economical, both in picado and other techniques.
Agreed. I think technically his picado is executed in the same way like the perfect tremolo of the balalaika players. One hits rest providing the preload for the next. Can you see the virtual pic bending before the next pluck.
Just as much as the picado I liked his abanico. Such is the wirst that I am after when exercising. Unfortunately it sets in only occasionally and returns to inaccesible again.
Actually I deem such twist ( whether in makro or micro dimensions) as essential for about all kind of technique.
Whatever you can spare the fingers, delegate it to upper limbs. To that wrist, and then ... the lower arm, upper one, shoulder, spine ... and if lucky enough to be standing ... pelvis, knees and feet.
That apparatus called "whole body" or so. The wrist just appearing a bit outstanding in that chain, as it seems to be the gearbox between the final limbs and the whole appendix. Or maybe better to say the other way round, from body to fingers.
I have a FaceBook friend who lives in Baltimore that is a speed freak. When he practices he completely owns me in scales. His two finger scale speed is ridiculous.
Curiously, Grisha, is the person to whom you're referring a Russian guitarist studying at Peabody Conservatory?
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