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kitarist -> RE: Felipe Coelho on picado (Jun. 5 2020 18:01:59)
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quote:
ORIGINAL: rombsix
quote:
sorry late to party, i think this cat has one of the best 3 finger picados:
Fantastic!
Eh.. an extra finger, and extra string.. too much cheating [:D][:D]
OK, seriously, it sounds the best I've heard of ami picados(*). But how does he do when the scale run does not line up nicely at 3-per-string and/or it is not in triplets per pulse?
EDIT: Here' something that may be of interest - I noticed that he does anchoring with the 'a' finger during the run - Once it's played, the 'a' finger stays on the string it just rested on "waiting" for the 'm' and 'i' to finish their strokes and rest on the same string, and only then it's reset. Not much of an 'a' reset too - hardly lifts it, more of a dragging stroke to the next string up (I've only seen descending scales)
I tried that (not with the 'a' drag; just the hold) and it feels initially quite awkward as it interrupts the temporal symmetry in finger 'cycling' through their phases - I want to reset 'a' as soon as 'm' does its stroke.
So it feels awkward and rhythm-interrupting, but I wonder if it is that 'anchoring' and dragging which allows him, for runs that line up nicely as 3-per-string, to achieve that 'flow'. As in just feeling 'a's: A m i A m i A m i
EDIT2: So in terms of learning it, I'd imagine something like this: start with the flamenco descending arpeggio 'a' finger drag - but a bit more slowly than usual, and after each string is sounded with the dragging 'a', insert 'm i' strokes.
(*) Upon closer inspection, I'd say this is actually a dragging picado technique not unlike Rafael Cortes's "m i-i m [i m i m] i-i" except here 'a' holds and drags instead of 'i'. Or is this a distinction without a significant difference with regular picado? I thought it is different, but now doubting myself after I wrote this.
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