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RE: Picado
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RE: Picado (in reply to Ricardo)
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Ricardo: thank you very much. I've seen the awesome stuff you do on that video with Todd. Yes I did....
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Date Sep. 23 2005 22:47:52
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Ricardo
Posts: 14806
Joined: Dec. 14 2004
From: Washington DC
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RE: Picado (in reply to DavidT)
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Not to start an arguement, cause we had that in the archives already. I don't feel like digging through to find it. Anyway my OPINION on the knuckle movement is to do what is comfortable. The speed will have more to do with economic motion (preparing your strokes) than which part of your finger moves. Anyway, I feel that the "middle knuckle movement" is an optical illusion based on video footage of guys like PDL. If you watch Rito y Geografia or even Concerto de Aranjuez, there are some side angle views that clearly show Paco moving i-m from the main big joint that connects the finger to the hand. The thing is he and others that uses this technique, bend the middle joint so the finger tips line up better length wise, making string crossing easier. From the front view, the economic motions makes it look like there is little or no movement, or it is all from the middle joint. But the power really comes from the big joint. There seems to be some confusion of terms in this thread too. I think of scale, arpeggio, tremolo as musical terms, whereas Picado, pulgar, tirando etc are technique terms. You can play a scale with picado, but also you can play an arpeggio with picado. A scale like in solea discussed is usually played with "tirando and ligado", but a SCALE is not a PICADO. Apoyando refers to restroke, but picado is a more forcefull, "driving" the finger into the string. I very rarely see tremolo done all apoyando (I want to say never). Usually it is apoyando bass notes (pulgar) and tirando fingers. Ricardo
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Date Sep. 24 2005 16:52:13
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Guest
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RE: Picado (in reply to DavidT)
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Ricardo: Thank you. I have this old video of PDL playing solo (his 1976 album, with the "almoraima"bulerias). And indeed it shows his upperjoints moving all the time when seen from the right angle. I've been through all that Graf-Martinez advise Florian: I'm practising! Seems like I've overdone it a little. This afternoon there was a total loss of strengh. I know I should practise slowly, but after three days there was this little devil: "you can do faster! Faster!" Well tomorrow is another day. Nomore bodybuilding. More room for meditation.
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Date Sep. 24 2005 18:58:46
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Jon Boyes
Posts: 1377
Joined: Jul. 10 2003
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RE: Picado (in reply to Guest)
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quote:
ORIGINAL: Guest Ricardo: Thank you. I have this old video of PDL playing solo (his 1976 album, with the "almoraima"bulerias). And indeed it shows his upperjoints moving all the time when seen from the right angle. ...also not wishing to have the same debate all over again, but a quick observation: If the upper joints did not move (extend) at all, the fingers would crash into the string they just plucked on their return, they have to move. But watch it in slow motion and ask yourself whether the large joint movement you see in Paco's picado is when the finger lifts to clear the string on its return, preparing for the next stroke, with the actual plucking action actually coming from the middle joint. At playing speed it would be very difficult to determine what is happening. Apart from this point (which is slightly academic), I agree with all Ricardo's excellent advice above, especially the stuff about finding what works well for you. There is huge variation out there in falemnco technique and just get hold of a video of Vicente to see lots of things you supposedly shouldn't do. Remember, a method book is just that - A method. Think of it as a starting point.
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Spanish Guitarist in Devon, Cornwall and Somerset
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Date Sep. 27 2005 9:37:41
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Guest
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RE: Picado (in reply to Ricardo)
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NIce clip. But I don't think it's possible to tell from it whether he exclusively uses knuckle movement or if there is some contribution from the middle joint. Would be good if we could ask Paco about this. Doubtless he hates people asking about his technique! He seems to be playing well as he approaches 60. I'm glad I didn't go to that concert though - I get distracted when idiots cheer and hoot at some fancy fingerwork or start clapping well before the end of a piece. Why on earth do they do that ...
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Date Sep. 28 2005 11:59:53
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Miguel de Maria
Posts: 3532
Joined: Oct. 20 2003
From: Phoenix, AZ
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RE: Picado (in reply to Hugh)
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quote:
ORIGINAL: Hugh Why do flamenco players feel the need to use a cejilla or capo to me, when as I see it, you want as much tone and depth out of the instrument as possible? Traditionally, flamenco guitars needed to cut through layers of sound such as dancing and singing and clapping, so the bright (emphasizing the higher partials, is I believe how it is called) nature of the flamenco guitar itself, and the capo would emphasize it, would be desired. Of course, half of this is that with a capo you can change the key to accomodate each singer's preference without changing the LH fingerings. With the advent of amplification and a more prominent role of the guitar in flamenco, you now have negras--richer sounding guitars--coming to the forefront. You don't have to use the capo if you don't want, but it makes me wonder... if you don't like the sound of the capo, maybe you don't like flamenco? It's a pretty integral part of hte sound. Classical guitarists prize a deep, rich tone.
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Date Jul. 30 2006 15:16:34
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