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Ricardo -> RE: My Flamenco progression Log (Jan. 29 2024 11:51:57)
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quote:
example of someone doing the arpeggios with the sound that i want to achieve
well i guess its called sextuplets...
The issue he makes at 1:30 is this āhanging outā on the string. He is advocating the SEQUENTIAL PLANT, exclusively. This is an important skill to develop as there will be certain cases that it is required to have the notes ringing etc., as he states. P-a-m-i should be developed FIRST before this pattern (p-i-m-a-m-i), and I think there was a Tomatito falseta discussed recently that used this.
But the TRUTH is that for the basic pattern P-i-m-a, which SHOULD be the first one you develop, 99% of flamenco players use the FULL PLANT, exactly what he says NOT to do. In particular, you develop a lot of speed intuitively by doing the pattern P as an eighth note, then ima as a triplet unit, first as 16th note triplets in the space of that last 8th note, and later you learn to wait even longer and cram those three notes super fast like a grace note, into the next thumb note, at any speed division you want.
AFTER the coordination of the super fast grace note ima full plant arp is mastered in combo with thumb bass lines (think imaPā¦..imaPā¦..), THEN you can start to apply it to the p-i-m-a-m-i pattern. What happens is the full plant acts as a springboard Pima, where the a finger is the middle of the beat accent, then you turn it around with the m finger, followed by i, SEQUENTIAL arp (as I said you need to first have drilled your pami pattern to death, fast controlled etc.). So you end up with Pima-m-i, repeat. Now if you canāt coordinate the timing as perfect triplets, such that you have a hiccup between the easy fast full planted part (Pima-m), then what you can do is dril that coordination very fast by focusing on the M finger note as a stop hard accent. Pima-m..Pima-mā¦. Like 1e&ah2ā¦3e&a4, etc. That note would be say the B string note and you could move a melody around on that string to make it interesting.
Anyway you should be able to develop that at top speed. Once you have that, it it is pretty easy to āsneakā the i finger in between repetitions. So that is all a big involved āshort cutā to getting the speed. Once you have this thing at the tempo you want, you can then go back to developing coordination with tricky patterns that utilize the SEQUENTIAL plant as needed, at manageable tempos. Otherwise, most students hit a brick wall of tempo drilling the pimami slow sequential thing, and never move past that.
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