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Skai -> RE: Gerardo Nuñez vs Gerhard Graf-Martinez (Dec. 16 2005 15:58:07)
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From a classical point of view, there's a very good reason and also a definite must to train apoyando with all combinations. The reason is simple, they help with scale runs (duh.. [:D]) and just about any other technique.
Why do you train im, mi, ma, am, ia, ai and later on, 3 finger combinations? It's to train speed, accuracy and even right hand finger development. A technique that will improve because of even development is tremolo. In flamenco, I find that the extra note covers up irregular or uneven tremolo. In fact, PdL's tremolo is uneven with a purpose. But what about classical pami tremolo? If your tremolo is uneven, irregular or not articulated, it's very obvious even to amateurs and you sound plain stupid. That's why I train ami rest strokes as well.
They build strength as well to help in arpeggios etc. Sure you only use im in the end. But classical players often use im for scale runs in pieces and yet they practise with all combinations with other fingers.
This concept is explained very well in Pumping Nylon as well and training all fingers is one of the few 'must-do exercises' in classical and I'm 1001% that it'll help greatly in flamenco.
Just some of my thoughts.
Cheston
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