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Well, I just ran into my first all thumb falseta played on the 1st, 2nd, and 3rd strings only. I'm finding it kinda difficult playing on those strings with my thumb because I'm not used to it.
I don't have a hard time playing thumb falsetas on the 4, 5, and 6 strings in tempo, but this one is a little hard because I'm used to playing 'i , m' on those strings.
Does anyone have any advice or exercises for me to get used to playing on the 1, 2, 3, strings with my thumb.
Tom, do you have any specific exercises on your site?
Simon, it's in a fandangos de huelva palo. It's actually a real pretty falseta. If I get a chance, tonight I will record it slow and post it. But, it's played at a pretty fast tempo, which is what is giving me problems.
Michael, I figured that would the advice I recieve! ;>)
I do exercises for 1/2 hour before practice, but, I have never incorporated the thumb playing on the high strings, so now I will start practicing those thumb strokes.
Hey, when you get back from Spain, your gonna be smoking that flamenco guitar!!
So do I (he says as if he's been doing it for years ).
Merle, does the tab expressly call for p-p-p or could you get away with p-p-i on 3-2-1? I do this on my solea to practise that side of the fingerboard without using arpeggios.
Otherwise, isn't the thumb in danger of getting lost past the 1st string?
Thanks Florian! My son drew that for me, and the actual size was made to put on a tee-shirt iron on paper. So, I printed it out on the iron-on paper, ironed it onto a new white tee-shirt, and I now have a cool flamenco tee shirt.
If you would like to do the same, let me know and I will email you the bigger version.
AndyB, it is not an exercise, it's a fandango de huelva falseta, and I checked again to be sure, and it's all thumb. I have been practicing for the last few days, and I'm actually getting the hang of it. I can produce a louder 'punch' on that last part with my thumb, and I think that is why it is done that way.
I'll try and record it a little later on, when I get more comfortable with it, but, it is a pretty falseta. Remember, this is only the last part of the complete falseta.
I use a technique very similar that might work here: Use the thumb on all strings except the first string (E). On the E string, use an upstroke with the Index finger. Keep your hand (ring or little finger) anchored on the golpeadore, and this will give you good control, and allow you to build up speed. I haven't tried to falseta you posted, but you may even be able to use a legato (hammer / pull off) to reduce the number of notes you actually have to stroke, gaining even more speed. But, if that screws up the Aire of the falseta, forget that!
Paul, I think that you on to what I am meaning. When using the thumb on the 1st string, that is where I start losing control. Again, I'm just going by the directions given, us all thumb.
It is getting better with practice, but, nothing is in concrete, so I will try out your suggestions!
Andy, I will try and post a slowed down version of this so you can hear it. It sounds kinda cool. It might be over the weekend until I do, but I will give it a try, OK?
I do very few things with pulgar picado on the first string but I would seriously suggest scales. Limit the scale to the first three strings at first up to the fifth position. Be sure you have a good anchor with Indice, Medio and Anular on the guitar top.
From my Soleares Handbook try pages 45-46 (Falseta 4), 47 (Falseta 5), 48-49 (Falseta 6), and 54-55 (Falseta 10). Pulgar picado was very popular and still is amongst a few Gitanos even today.
Another technique that goes well with pulgar picado is ligado.
I have several films of Carmen Amaya and Sabicas. What is interesting in one is there are five guitarists – Sabicas being one of them – the main one. The other four play all pulgar picado while Sabicas plays I, M picado. It is fun to watch those men play.
Hi Bob, I got that Paco Pena book but have not really tried any yet because I'm trying to record all the material that I know so far for furture reference. I make a new CD every year to see if I', progressing. I did listen to Paco's CD that came with the book and there is some nice sounding flamenco there.
I'm glad you like the guitar. It probably likes you too!! Are you using it much, or did your other guitar get fixed?
Yes, I'm using your guitar and before the cold weather returns I'll get mine fixed and use yours exclusively while the Luthier has it.
My Teacher and I are trying to introduce Pacp Pena's stuff to the dance class. We tried the Solea, Tientos and Rumba. We need to figure out some chords to go along with the solea. He figured out the Rumba and Tientos chords. The Solea is another story. Selecting the chords may not be as hard as me playing them as accompaniment to capture the Aire and not sound just like strumming. Bob
Yes, Andy. Now that I have no choice (due to broken M nail) I'm beginning to like the Pi combo. The slower stuff is easier, but with practice I hope to use in more often.
Most of the older falesetas make much use the Pi combo and it sounds, less modern/classical, but VERY flamenco.
I agree with you, I wonder if the older guitarists used their thumb and index a lot more? Classic arpeggios and picado appear to fall on consecutive strings where as the PDL school hops around a lot more.
Reminds me of a quote from Richie Blackmore of Deep Purple - " I got a lot better [in solo] when I just stopped moving to the next string"
It was old material he transcribed from records and illustrated the use of Pi as the method of choice, even as the way in which Alzapua was accomplished.
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