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So, the question I am now going to ask is....Is the practice slow a MYTH???

Also, does this apply with picado and other techinques or just compas and falsetta...

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It’s not a myth. Examining the music slow in order to cross every t and dot every i is important at an early stage of encountering new music or unfamiliar phrases. The problem is once a tempo is assigned to a phrase, so is a “feeling”. So the myth part involves the confusion that slow practice magically leads to fast perfection. The feeling is totally different at vastly different speeds, for all techniques, so you have lower and higher tempo thresholds where once you cross into another range, the feeling changes.

This is also why students don’t immediately see a connection between very slow Soleá and a fast buleria, and are confused about 12 vs 1 in medium tempo forms such as Soleá por bulerias or Alegrias etc. Many bulerias transcriptions represent compas on paper (such as Faucher) as identical phrases to Soleá however, the tempo difference between 60 bpm and 260 bpm completely changes the FEELING of the music.

In that sense, to me, it makes sense to first learn a short phrase very slow to get all the detail. But before adding a new phrase you must first experience the first phrase somewhere in the ball park of the actual tempo. What we see instead is students learn entire Pieces of music at half speed and after lots of practice and mastery down in that range the attempt to increase tempo hits a brick wall far below the lower threshold of the actual tempo. It is the wrong ball park.

The idea of playing for dance classes is there will be transitions during footwork that require guitarists to slip between “ball parks” seamlessly, usually with simple thematic falsetas or compas strumming but the concept of changing gears of feeling as tempo increases is what you learn. Later applying this to tricky solo guitar stuff certainly helps when learning challenging material slow but with a forward looking concept that the fast tempo will change things drasticall

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Practice makes PERMINANT, not perfect. So if you practice slow with no mistakes, all you are doing is mastering the slow tempo. In order to play something at the correct tempo, you need to practice at THAT exact tempo. I would admit that there are ranges where the feeling is pretty similar. For example you want to play a tango at 160, practicing at 150 range will get you there, but 100 will not. If you feel 100 is NOT achievable even, you need to start a phrase at 150 right away, and loop it small bits, like two beats at a time looped, fixing the errors each pass until you do it many many times in a row perfectly, then add the next two beats or so. I am sure you have seen this video but it is basically how I think all falsetas or compas phrases should be learned. This is not a prepared video, you are watching me actually learn and master the thing

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Probably just wanted to share those tips with you. and was then was shocked to see it was 6 years ago. ya know..time flies etc.

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es, this, no snark intended. And we should return to these old questions, they don’t get stale though the old answers might. Something I’ve understood much better since six years ago is how easy it is to neglect the left hand. If there’s a sticky bit in a piece that I can’t get to sound right, it’s almost always my left hand at fault. And I wasn’t thinking much about dynamics. Got a piece up to speed? Can you play it too loud and too quiet? At a steady volume? With wildly various dynamics? Strict tempo and then with over the top lush rubato? Etc..

I’m still not accomplished but I’ve had six more years practice at talking about practice.

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I guess the answer to this might be obvious, but in that Tomatito falseta are you actually looking at the scores (I can't really tell) or you memorised the falseta first?

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Yes....it's really a helpfull discussion. I've been stuck at snail pace for some falsetas and I applied these tricks in the last couple of days. It got me out of it straight away. I sped up and wooaw,, after a few sessions it's way better.

One thing though, it feels more exhausting, as if it's taking more concentration/energy. So I naturally adapted my routine and played for shorter amount of time and doing more micro pause.

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I guess, I am wondering if all the accomplished guitarist practice more techniques before they learned to really play.

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Alzapua: 40bpm triplet cause I just started learning this one...

I don't practice arpeggios too much because I get enough practice in the falsetta's I have learned.

I am good at amii, but, PAI and A.I still need little improvement...

Even though I can play them a decent speed, I still make mistakes now then and want to practice clean.

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I have the impression you haven't learned...

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Kalo: the guy writing the above seems to like trolling and generally putting people down, yet is such a beginner guitarist in flamenco that he doesn't even own a flamenco guitar yet; a good example of proper use of the phrase 'his ignorance is only exceeded by his arrogance". Treat accordingly.

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The video by Grisha on tempos was revelatory for me, especially where he suggests playing faster than what the piece calls for as a way to make the actual tempo more comfortable for oneself (and deal with stage nerves, apparently).

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LOL, and that is why I ignored his post

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I just feel like i just keep practicing the same compas and falsetta's over and over...SLOW...and at times when played up to speed (which I can easily do) make errors! Not a lot, but, I can't understand why they are not without them! You would think by practicing slow I would make no mistakes at all..

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if you have trouble with speed, it's a sign your hand, wrist, arm and shoulder are not relaxed

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ORIGINAL: chester

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if you have trouble with speed, it's a sign your hand, wrist, arm and shoulder are not relaxed

my picado is the fastest when i'm asleep

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both actions qualify as 'technique exercises' in my book

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Devil hand, why don't you ever use emojis to let everyone know you are joking?

I mean that has to be a joke right?

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What I do not understand is how he can learn/play flamenco on a classical guitar properly.

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What I do not understand is how he can learn/play flamenco on a classical guitar properly.

I converted my classical into flamenco negra. My 1977 cedar top Ramirez knock off sounds muy flamenco and is better than any 500-1000€ flamenco guitar on the market today. That's why I haven't upgraded it yet. I'm still working on my techniques. What I had to do was to lower the string height at the bridge. The string action at the bridge is now 7-8mm. The height over the 6th string is even lower 5-6mm. Capirote no problem. Plus the string height at the 12th fret 2.8-3mm. It doesn't get any better than this.

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I am surprised you were able to drop the bridge action to 7-8mm. Classical guitar neck angle is not made to do that.

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If that's more than a hunch, then you should talk to Simon about it since the forum explicitly doesn't allow the whole false identity thing.