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Can I get some pointers on developing those monster alzapua triplets? It's the one technique that completely escapes my comprehension. I can't even imagine moving my thumb that fast, it doesn't seem humanly possible yet so many players can do it. I've been doing normal alzapua exercises, just little falsetas I find and stuff, and I do see a lot of improvement. I can rattle off normal alzapua licks pretty cleanly at moderate speed now, but I'm so far below where I want to be that I'm a little discouraged. Do I just have to keep doing what I'm doing, or are there special exercises just to develop speed for the triplets? Thanks for any advice.
RE: Help for my alzapua technique... (in reply to El Gato)
Yes Romerito I think that makes sense and I will try that right away. That's exactly what I was looking for. Also I'm particularly glad you replied because I've d/l'ed some of your clips and you can really rip through the alzapua triplets! Thanks very much for the advice.
RE: Help for my alzapua technique... (in reply to El Gato)
Gato, I'd really have to hear an example upload before I could really comment.
quote:
I can rattle off normal alzapua licks pretty cleanly at moderate speed now
I'd like to hear that...if you find romerito's advice on basic alzapua helpful, then maybe you'd be better thinking about accuracy of execution rather than speed?
quote:
but I'm so far below where I want to be that I'm a little discouraged.
Join the Club, amigo.... Everyone is....in every technique!
quote:
Do I just have to keep doing what I'm doing, or are there special exercises
There are no real "special" exercises in anything, other than keep practising.
Putting technique to one side...I have always found I get a great increase in general Flamenco "sound" with every increased bit of knowledge of Flamenco "rhythm".
Rhythm is the key..
Not technique. (IMO.. )
cheers
Ron
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RE: Help for my alzapua technique... (in reply to El Gato)
I think we all thought the same thing when first witnessing a blazing alzpua.
But triplets with the thumb are decieving. You're getting a triplet for every time you go up/down IE you're getting 2 out of the down stroke. Its all about hanging up before that second down stroke, and making them evenly spaced.
Thumbnail has to be just right. Start slow with the metronome. Slow and relaxed eventually turns into fast and relaxed. It cant be rushed. You have to be patient. TK
RE: Help for my alzapua technique... (in reply to Guest)
YES! I was really hoping for something like this. Thanks a ton in advance Romerito.
Todd, thanks for your input as well. I consider myself very disciplined in practice, the metronome is my friend and I'm not afraid to play things very very slowly to study all aspects of what I'm doing right and wrong. I will definitely take your advice. And darn good to see you still active in the Flamenco Forums since your site (which was my favorite ) went down.
And finally Ron M.: aaak! I'm way too embarrassed to upload anything Flamenco right now. You guys have me thoroughly intimidated. But I'm really enjoying the learning process. As far as what I consider "normal" alzapua, that which I'm ok at, it is something like a quadruplet feel like Single String->Hammer-On-Bass-Note->Thumb Sweep Down->Thumb Sweep up. Or Single->Pull-Off->Thumb Down->Thumb Up for a descending run. The hammer-on or pull-off affords my right hand a split-second to "breathe" and easily execute the next step so I find it not so difficult.
RE: Help for my alzapua technique... (in reply to El Gato)
For me, like Todd said, the thumb nail is very important. If I file mine down too short it is very hard to get a good grip on the strings. If its too long I can't play it fast. Also, I try to get a steep (more 90 degree angle with the thumb) attack when doing alzapua for better grip.
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RE: Help for my alzapua technique... (in reply to El Gato)
Like Ron said, rhythm is the key. But to me, rhythm IS technique, or at least should be a part of your practice focus. Most technical things can be smoothed out from the point of view of a rhythm exercise. I think Romerito wanted his step 1.) each time to be on the click, the other two steps filling the space between the clicks. In this way, with his 9 step exercise, you get to emphasize and strengthen each part of the "triplet".
Another faster way to do the same thing, is try to control steady 16th notes (4 notes per beat or click), using the same 3 stroke technique. Lets call the down stroke strum "A". The upstroke strum "B" and the single note rest stroke on the bass string, "C". So even though it is triplet based, you synchopate the stroke in 4's.
ABCA,BCAB,CABC,ABCA, etc. This way, every beat has a different part of the stroke emphasized. Increasing the speed and controlling the 4 feeling, is very helpful in making the triplet stroke sound smooth and even. If you get this going fast, without losing the beat, you will find actual triplets a piece of cake.
One more rhythmic thing is to do a gallop rhythm, where you have four notes per beat again, but leave a space. But change where the space falls, relative to the click.
That last one is the one that happens when you add the slur when doing a fast 16th kind of thing like Paco does in La Barrosa for example. The slur would occur in the space (on the beat, or on the click). But notice how hard it is to just do the right hand rhythm WITHOUT the slur. A lot of folks I hear try this and are not real tight sounding, because they have trouble feeling this rhythm without the "C" gravitating toward the beat.
Ideally you should practice these exercises with the left hand muting the strings, not even holding a chord or anything. This way, you can hear the dry rhythmic attack only, and can focus on eveness.
RE: Help for my alzapua technique... (in reply to El Gato)
quote:
WITH A METRONOME...do it this way for five minutes. Then change where you begin. 1) through the strings down 2) through the strings back up 3) single string
Then, 1) through the strings back up. 2) single string 3) down through strings
Out of the alzapua you have three exercises now.
Let's make it nine.
1) single string with metronome beat 2) down through strings accent on the tri of 1triplet 3) up through strings
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RE: Help for my alzapua technique... (in reply to Ricardo)
sounds good and yet surprisingly difficult even when slow ..., the pull off is in the space then ¿ Like .....A, B , C , Pulloff,./..A, B , C , Pulloff,...and each one is one part of the 4 semiquavers... I think , I should really practice this as well....
RE: Help for my alzapua technique... (in reply to El Gato)
Very nice!
However, the OP asked about triplet alzapua, like in Bulerias.
The quadruplet alzapua like in solea or alegrias seems alot easier to me.
One thing i noticed recently about the triplet alzapua, is when returning the thumb to the low string, dont overshoot that string. Every millimeter you overshoot is that much more time to get back to the next downstroke.
So try keeping the upstroke with the thumb as tight and short as possible. TK
Your pinky and ring fingers are sticking out during alzapua. I observed similar right hand posture in G. Nunez video. Are you emulating G. Nunuz hand posture or is it inevitable because of the tension in pinky and ring fingers like during picado?
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Joined: Dec. 14 2004
From: Washington DC
RE: Help for my alzapua technique... (in reply to devilhand)
quote:
Are you emulating G. Nunuz hand posture
Paco I first noticed this but it’s a result of learning this with golpes every down strum at medium tempo. The fingers are out and ready for the golpe rather than curled up where it would be inefficient to make the uncurling part of the pattern. It just so happens that when we speed up we do less golpes so the fingers are stuck waiting in position most of the time. This example is especially long, and there would be no reason not to curl the fingers up for alzapua that doesn’t use golpes at all.
As an aside, I had some thoughts in my head for the OP but then I saw my own post which covered everything I was thinking...14 freaking years ago!😂