Ricardo -> RE: BPM metrics for technique (arpeggio, tremolo, picado, etc.) (Dec. 15 2021 17:58:12)
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ORIGINAL: kitarist quote:
ORIGINAL: Grisha Here are some of Paco's speedy runs that are 230+ : https://youtu.be/5C7yIuE3ElU 1:19:42 and 1:44:33 https://youtu.be/qNhSMkleIAA 2:23 - 2:33 https://youtu.be/5Auxos6zt_Q 0:58 Thanks, Grisha! Wow, that first example from Lorelei at 1:19:42 is an absolute monster of a picado run and so clean. I think it is the cleanest and longest of all examples above I could access so I looked at it in more detail. I isolated in Wavepad a long sequence of about constant note speed and clarity after the four 'winding up to speed' notes, and it is 43 clean notes in 2.81 seconds, which means ~15.3 NPS i.e. 230 BPM at 4 notes per beat indeed. Link to isolated sequence: https://drive.google.com/file/d/1S60WQnK9JPmFruhNEh07_lrH7PXnOZlz/view?usp=sharing Musically there is a12-note phrase design to it (there are other ways to think about it (*)), the first starts from 1st string F#, repeats save for a transition note down, then starts from 2nd string D#, then the last incomplete (7 notes before a little slip-up so I cut it off there) starts from 3rd string G. The left hand shifts position from I to II at end of phrase 3 to avoid using LH finger 4 in what follows, so the whole run is done with LH fingers 1, 2, and 3. Very cool stuff. So this seems incontrovertible evidence of Paco's crisp punchy picado at 230, falling free and hard like torrential rain.. I am trying to describe what it feels/sounds like to me - the inevitability of every note delivered at an overwhelming rate yet somehow feeling generated with the easiness of water coming out of a spout. BTW the last video (Calejon del Muro) is not accessible for me (is it a Canada vs. US region thing? Anyone from Canada can see it and/or anyone from the US cannot?) (*) The 12-note phrase is made of a 4-group consisting of establishing a starting note then approaching from below to repeat it (e.g. first such group is F#, D, F, F#), followed by four descending pairs of descending thirds (except for turning back up to repeat the first 12-note phrase). He was pushing himself in the libre parts of those tunes. In other words he was free to let the phrase breath, (some slow notes some much faster), very different than obeying a strict tempo and groove. Still we have a wall or speed limit around 115 (32nd notes, the same as 230 16ths), and he likes the descending 3rds as they permit easy string crossings. THe passion grace and fire run is just as dirty as the Chanela and it is the same speed pretty much. The action on the guitar does not permit him to push the string down to the fret wire fast enough so it sounds a little muted. Anyway, I don’t feel it is fair to use the toque libre examples for this reason of timing and control. Normally Paco won’t let the tempo move above 104-107 max because the 115 thing is simply outside of his comfort zone. About synchronization, yes the timing is key, but it is timing of both hands independently. The left hand can do ligado faster and cleaner than the right hand can alternate, so controlling the timing of the left hand to the exact groove tempo required is the first step. In my Paco tutorial 2 a buleria picado trick was to first learn it as a ligado phrase before applying the right hand. That prevents the left hand from pushing past the speed the right hand can go (pulling it along) and going out of synchronization. By the way if you guys want to learn that decending thirds run Paco loves to use, I teach it as part of his solo in Frevo in this tutorial around 1:18:00: http://www.foroflamenco.com/tm.asp?m=317235&appid=&p=&mpage=1&key=paco%2Ctutorial&tmode=&smode=&s=#317235
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