Ricardo -> RE: Paco de Lucia's technique (Nov. 8 2005 6:11:13)
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quote:
Well its simple. As the thread title says, we can uses PdLs technique as a basis. To me it is picado, or as you would say, 2nd joint picado. Of course there is some large knuckle movement, but the main impulse comes from middle joint. Besides, my teacher and also Flamenco methods (Graf-Martinez,etc...) teach it with least large knuckle movement possible. But the reason why there is still some large knuckle movement lies in the anatomy, at least in my case, coz its hardly possible to exclude it. This may have its reasons in evolution, since our fingers got used to a certain movement procedure and the very most of our finger/hand movements include large AND middle joint. A good example to prove this would also be the little joint. I think its clear now what i wanted to say :) (phew, ive got serious probs keeping it short! ) Anyway, this is not THAT important imho. The only important thing is the sound, and the sound changes with the stroke. However, it is important or it can be helpfull to know how to do this i.e. which possibilities there are and for my person the 2nd joint stroke sounds much harder, more flamencoish if you want, than the classical apoyando with more large knuckle movement. Well, I say no. There are differences in expressing sound with ALL the similar RH techniques that classical and flamenco guitar share. Classical apoyando is not picado, true, but pulgar is different soundwise too, as is tremolo, and even arpeggio. Read up on the Aaron Shear method and you see he teaches begginners to play apoyando from the middle knuckle, keep the big joint stiff. The only way to do this as is explained, is by allowing the tip joint to flex. The result is NOT anything like flamenco picado, nor is it meant to be. Could you do picado like this? Yes. Can you go fast? Not really. Does PDL do this? NO. His fingers move as a unit from the big joint, even though the middle knuckle is slightly bent (the medio finger bends more than the index, so the tips are more even length, making string crossings more comfortable). His tip joint does not flex. Check out the side shots in Rito y Geografia and slow it down if you need to, it is quite clear. Big knuckle powers it. I tried the Aaron Shear technique very briefly in college. I equate it to picking style. With a thin floppy pick you don't have the same control over speed and tone as you do with a harder pick. The best anology to get a feel for the difference was done a while back by Jon maybe. Moving from the 2nd knuckle feels like scratching on the table, without lifting off, where as big joint moving is like tapping on the table. Ricardo
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