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can someone explain how the timing on a 6 note arpeggio works. I can hear timing that is 123 123 and some that is clearly 123456 which sounds completely different. I think I've got some strange timing in my head and mine sound completely different. What do people count in their head when they're doing 6 note arpeggios.
When you want to play a fast 6 note arpeggio like in Solea you have to practice like this:
you have to prepare all four fingers when playing downstroke that means before you start, the fingers p m i a have to rest on the strings
for example p on the fourth, i on the third and so on...
than count 123456 1 pimami p
so like i said when you going down, lower strings to higher strings, prepare, when you are going back just normal m i and p the clue is when you come back with p on the fourth string you have to put at the same time when p is stroking the string, all other fingers on their strings so they are already their for the next arpeggio
i know that sounds strange and it is not so easy but you have to try ultra slow and then you can speed up
so count 123456 and 1
again pimami p
only practice this seven strokes
don't count triplet triplet that is wrong
that is very very important my teacher told me this, his name is marco tamayo and he knows a lot about guitar technique
I adoppted the habit of counting out loud whenever something makes me struggle "1 and 2 and 3 and 4 and, etc.", at the same time tapping my foot, chewing gum, and eating potato chips. After a while it starts to work :)
123123 and 123456 as a single arpeggio are the same thing when played fluidly. To make better sense of it, practise thinking 123456. The only difference you'd hear is in the overall rhythm of the palo, for example comparing soleáres to bulerías. At standard bulerías speed I've never heard accents in the middle of pimami, though I'm sure it could be done.
123123 you'll usually hear all up or all down, i.e. imaima or amiami (though downwards it's usually played all thumb or with help of the index)
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123123 implies two accented notes, where as 123456, only has one accented note, the bass note. Rhythmically the difference is only in that accentuation, but it is up to the player if he wants to do it.
Strudl's advice is in regards to doing a FULL PLANT vs doing a sequential plant. Good explainations of this difference are in PUMPING NYLON. Most flamenco players will use the full plant on pima, but never amiP. Pima is full plant, then miP are done sequential. The thing that is tricky is to get used to that feeling between a-m coming back.
Anyway, for the record, Nuñez NEVER does the full plant as described, always sequential. His arps are some of my favorite.
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