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Good discussion you've started here. It does depend on the length of your arms a bit - many teachers I've had in Spain are quite short, and can rest their arm comfortably on the guitar, keep a straight enough wrist and have their hand end up half way between the bridge and sound hole. When I do the same thing my hand is right over the sound hole. If you have long arms it's useful to look at some of Spain's taller players - Miguel Angel Cortes is the main one that comes to mind. He wraps his right arm further around the side of the guitar with his elbow further back - he still gets some support from the guitar to avoid shoulder tension, and gets his hand in a good spot relative to the bridge for a flamenco tone. Compare this to Gerardo's (shorter armed) position.

In terms of anatomy of course a straight carpel tunnel is better - however there needs to be some amount of compromise to allow for the variety of movement flamenco demands as Ricardo explained. If you play music without strumming or any technique that involves rotating the wrist, then possibly the optimum playing position is upright between the legs like a cello - Paul Galbraith and many of his followers do this to great effect. But for many rasgueos and even plain flamenco pulgar technique that position won't work.

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ORIGINAL: El Rey De los Bagres

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Good discussion you've started here. It does depend on the length of your arms a bit - many teachers I've had in Spain are quite short, and can rest their arm comfortably on the guitar, keep a straight enough wrist and have their hand end up half way between the bridge and sound hole. When I do the same thing my hand is right over the sound hole. If you have long arms it's useful to look at some of Spain's taller players - Miguel Angel Cortes is the main one that comes to mind. He wraps his right arm further around the side of the guitar with his elbow further back - he still gets some support from the guitar to avoid shoulder tension, and gets his hand in a good spot relative to the bridge for a flamenco tone. Compare this to Gerardo's (shorter armed) position.

In terms of anatomy of course a straight carpel tunnel is better - however there needs to be some amount of compromise to allow for the variety of movement flamenco demands as Ricardo explained. If you play music without strumming or any technique that involves rotating the wrist, then possibly the optimum playing position is upright between the legs like a cello - Paul Galbraith and many of his followers do this to great effect. But for many rasgueos and even plain flamenco pulgar technique that position won't work.

Thanks mate glad to hear i was afraid i was spamming the forum with old questions [:)]

I have a pretty high ape index, so great idea to take a look at someones who roughly is your height and se how they aproach it. I never thought of that.

I din't know there where people doing serious music with the guitar up right, thats awseome but it does not look right [:D]

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ORIGINAL: aloysius
Good discussion you've started here. It does depend on the length of your arms a bit - many teachers I've had in Spain are quite short, and can rest their arm comfortably on the guitar, keep a straight enough wrist and have their hand end up half way between the bridge and sound hole. When I do the same thing my hand is right over the sound hole.

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If you have long arms it's useful to look at some of Spain's taller players - Miguel Angel Cortes is the main one that comes to mind.