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RE: How to go about developing picad... (in reply to Ricardo)
quote:
This guy has the right technique, speed and control, and advices. However I can tell by the sound his rounded nail shape. If he filed flat he would get a crisp tone and feel less resistance. I can feel that resistance in my own hand as he plays, because I used to use that shape as well.
I have seen his nails, and from what I remember they were not rounded, they were ramped. It was about 10 years ago though. Maybe any of his current students or friends (or the man himself!) might comment on this? Maybe he will make a video about nail shape and all will be revealed!
Edit: checking through the videos again I see that in the first video at 5:30 there is a glimpse of his nails - it's only brief and even with fullscreen and pausing it's hard to tell for certain - ring finger looks kind of rounded, but middle less so, and index looks ramped to me, but I can't say for sure.
At 9:30 in first video he debunks the "middle joint" picado theory.
Also interesting that from 7:50 to 10:50 in the second video he talks about preparation/staccato (he doesn't advocate it) and making big movements when practising slowly.
Posts: 15725
Joined: Dec. 14 2004
From: Washington DC
RE: How to go about developing picad... (in reply to mark indigo)
quote:
Edit: checking through the videos again I see that in the first video at 5:30 there is a glimpse of his nails - it's only brief and even with fullscreen and pausing it's hard to tell for certain - ring finger looks kind of rounded, but middle less so, and index looks ramped to me, but I can't say for sure.
I can clearly hear it. However at 3:30 you can play it slow if you want, they are clearly rounded shape (the index and middle). You can tell when the white portion is about equal all around. Filing flat results that the CENTER (m) or ramp bottom (thumb side on i, pinky side on a) have the least white exposed. His nails look pretty much how I used to do it as I suspected. The ring finger looks a little better but he is giving us the i-m view.
quote:
Also interesting that from 7:50 to 10:50 in the second video he talks about preparation/staccato (he doesn't advocate it) and making big movements when practising slowly.
ooooh! Sorry I missed that. No, I don’t agree with that at all. He is a good player none the less. If is simply filed flat and did staccato improvised rumba, he would get it pretty fast like “oh! Ok that is why they advocate that!”.
RE: How to go about developing picad... (in reply to metalhead)
Great question. I recently came across a video by Maestro Tino from online flamenco.com that has made a large difference. The takeaway was to NOT REST your finger after the stroke on the next string; rather think of the next string as hot, and return your finger into position for the next stroke ASAP. This really has helped me. Of course, it's a constant battle to get the right sound-my middle finger nail curve down so I have to keep it really short. It really CAN BE DONE. Just like trilling your RRRR's in Spanish. A little practice every day goes a long way. Or as they say in Japan, even dust piling up can become a great mountain over time. LOL. Good luck!
RE: How to go about developing picad... (in reply to mark indigo)
Picado lesson 1-5? Hard to imagine this simple i and m movement can be so extensive and difficult to master. I'm still struggling. But I found my way a few months ago. Make your middle finger happy.
RE: How to go about developing picad... (in reply to mark indigo)
Is using the same finger when crossing strings considered a fault? Like m i --> i m i ...etc Are you always supposed to alternate fingers even when crossing strings?
Posts: 15725
Joined: Dec. 14 2004
From: Washington DC
RE: How to go about developing picad... (in reply to elias)
quote:
ORIGINAL: elias
Is using the same finger when crossing strings considered a fault? Like m i --> i m i ...etc Are you always supposed to alternate fingers even when crossing strings?
It can be used but it depends on the phrase specifics. For example, you can’t do any such thing with an ascending scalar melody that is quick. If one is to play ascending scales as quick and clean as descending, in principle, why would you learn a different technique to do one vs the other? So it can be used, and is used, descending, but not to increase speed. Likewise, thumb drag is used for ascending lines, but not for descending lines. Alzapua (implying using the thumbnail as a pick) is a technique that incorporates drag strokes with up strokes using the back of the thumbnail. Normally we think of this as “strumming” as in playing chords. So dragging the index finger would be akin to strumming techniques vs “picado” which is for melody.
RE: How to go about developing picad... (in reply to elias)
quote:
Is using the same finger when crossing strings considered a fault? Like m i --> i m i ...etc
Always alternate. But there's an exception. When doing slurs, you can play 2 adjacent strings with i finger. Maestro Paco does it during his warm up before a concert. In this thread I tabbed that descending picado run. See index finger marked in yellow.
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