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Tio Sabas Technique
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Bogdan1980
Posts: 370
Joined: May 23 2007
From: Frederick, MD
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RE: Tio Sabas Technique (in reply to Bogdan1980)
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Lionel, I think I mentioned before, that I look at Paco's stuff (and Amigo's pieces) as coherent compositions and I select them based on their musical qualities...I don't necessarily see them simply as "flamenco" falsetas. Since classical music is what I always played, I pick some of these pieces just like I would a classical piece. This may be a wrong approach. Don't get me wrong I want to get all flamenco technique under my belt, but I also want to work toward completing a stand alone interesting musical piece. Sabicas and especially Juan Martin often seem like collection of falsetas to me, exercises. There is nothing wrong with those but it's one thing to play them and practice and another thing to learn them, memorize them. I think there is no need to memorize an exercise because you can read it (if you read a sheet, or if you have a tab). On the other hand Tio Sabas or Barrio gives you a benchmark, a goal. It will take a while to get there but it's much more interesting to work on them than on JM's alegrias. And then when you encounter something like this picado in Tio Sabas, you get swamped and do some related exercises and practice until you get it right. I do however agree with you that it is important to understand what techniques are involved in these pieces...so you're not getting lost in fingerings and positions. That's why we need to get together and analyze Barrio. As far as Tio Sabas, these picados are tough, but what about that tremolo?
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Date Oct. 9 2007 19:40:21
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kitarist
Posts: 1715
Joined: Dec. 4 2012
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RE: Tio Sabas Technique (in reply to Pimientito)
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quote:
ORIGINAL: Pimientito Those Paco arpeggios aren't arpeggios at all. The first time you hear them they hit you in the stomach!! They ascend like an arpeggio but descend in picado at an incredible velocity. Its ironic that Pacos arpeggio is really picado and Gerados picado is really arpeggio. I guess they both just developed thier strongest techniques. Anyway I am pretty sure this is the fingering. I could never get it but then I'm not paco or ever likely to be. However I am not 100 per cent sure that the fingering is correct either. This is my version. If anyone thinks its is wrong, can they be kind enough to tell us the correct fingering for this (arpeggio) technique There is a way to optimize the left-hand fingering to make it easier to do fast. If you use finger 2 (instead of 3) on string 5, you can keep LH fingers 2 (on string 5) and 3 (on string 2) anchored in place and only have to move fingers 1 and 4 but with time to do so as each is two strings apart. Finger 1 frets string 6 then while playing strings 5 and 4 it moves to string 4 wheer it is needed next. Similarly, LH finger 4 plays string 4 and 1 with time to move to string 1 while playing strings 3 and 2. And vice versa during the arrastre from 1 to 6. For the first arpeggio /sweep from 7th position that is not pictured, the LH fingering sequence is 1, 3, 4, 1, 2, 4 and back and the anchoring in place can be done this time with LH finger 3 on string 5 and finger 2 on string 2. The rest is the same. EDIT: if you are worried about ringing sounds from the anchored fingers, just keep them anchored but reduce the pressure a bit to mute their strings after the stroke.
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Konstantin
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REPORT THIS POST AS INAPPROPRIATE |
Date Oct. 27 2022 4:03:38
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