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Posts: 377
Joined: Nov. 22 2005
From: Quepos / Manuel Antonio, Costa Rica
Arpeggio practice combinations
Ever since the arpeggios are evil thread I have been spending a lot of time practicing arpeggios. I have been trying to practice as many different patterns as possible, and I have to say that I am extremely happy with my progress. I am actually a bit of a technique freak and have no problem sitting for hours practicing this stuff. The biggest improvement that I have seen doing this is that my right hand has become much more stable and solid, and that in turn has improved the sound quality of my playing as well movement.
Anyway, I have written out below what I am practicing working on now and wonder if anyone else has any other patterns that they might want to share. Oh and this has also helped my out my tremolo too!
Posts: 377
Joined: Nov. 22 2005
From: Quepos / Manuel Antonio, Costa Rica
RE: Arpeggio practice combinations (in reply to fevictor)
oops, you're right. I just fixed that Ramzi, thanks. Yeah, playing the (IM) and (AM) is a bit tricky. I just started practicing it because its part of an Alegria from JM that Im learning.
RE: Arpeggio practice combinations (in reply to fevictor)
I'm too working a lot with arpeggios. I find the Giuliani 120 Right Hand Arpeggio Studies useful as arranged in 'Pumping Nylon' book. Although some of the patterns sound very 'classical' and maybe not useful for flamenco, I practice them all with thumb rest stroke and all in all find it a good workout.
Posts: 377
Joined: Nov. 22 2005
From: Quepos / Manuel Antonio, Costa Rica
RE: Arpeggio practice combinations (in reply to fevictor)
quote:
I'm too working a lot with arpeggios. I find the Giuliani 120 Right Hand Arpeggio Studies useful as arranged in 'Pumping Nylon' book. Although some of the patterns sound very 'classical' and maybe not useful for flamenco, I practice them all with thumb rest stroke and all in all find it a good workout.
Can you give some examples? Is there anything different than what I have posted? Thanks!
RE: Arpeggio practice combinations (in reply to Pawo)
quote:
I practice them all with thumb rest stroke and all in all find it a good workout.
way to go good to put different chords with the guiliani on the left hand like Bb to A7b9...etc...gives it a flamenco flavour also the Carlevaro exercises are great to work with...offers a syncopated bass unlike the guilianni eg
amim {ie p and a together} p
imam p
then variations
mima p p
can place rest stroke on p as well as a or any other combinations depending
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RE: Arpeggio practice combinations (in reply to fevictor)
Ok Vic here's a few
maim ipip (an example of a 'classical' sounding pattern with ip played on same string)
pia pim
pamami
(pi)ma
(pa)mi
(pm)ia
brackets means played together
I try to use thumb rest strokes and full plants as much as possible (apart from descending ami where I find sequential planting easier)...find it helps me develop finger independence.
You can imagine cos there are I20 patterns almost every conceivable permutation is covered.
I think it's best you take a look yourself...do a google search and and you will probably find a PDF version of the studies to download.
Guilianni just uses I - V (C to G) chords but as ALVal said in his post you can use different chord sequences as you please.
Thanks ALVal for posting that example of Carlevaro...this is new to me and looks interesting..... will definitely look at these studies
RE: Arpeggio practice combinations (in reply to fevictor)
Hi.
Some of my stuff:
1.
-----------0---0---0--------- -----0---0---0---0---0---0--- ---0---0---------------0---0- ----------------------------- ----------------------------- -0--------------------------- p i m i m a m a m a m i m i
2.
-----------0--------- -------0-------0----- ---0---------------0- --------------------- --------------------- -0---0---0---0---0--- p i p m p a p m p i
3.
-----------------------0---0---0--------------------- -----------------0---0---0---0---0---0--------------- -----------0---0---0---------------0---0---0--------- -----0---0---0---------------------------0---0---0--- ---0---0---------------------------------------0---0- -0--------------------------------------------------- p i m i m a i m a i m a m a m a m i a m i a m i m i
4. A bit of sweep arpegios, but with fingers:
---------3-7-3------- -------5-------5----- -----4-----------4--- ---5---------------5- -7------------------- --------------------- p i m a m i m a m i
RE: Arpeggio practice combinations (in reply to Elie)
What M. Sanlucar is doing in this video at 1:50-2:05 caught my attention. Does anyone know which technique it is? Or is it a normal arpeggio pattern without ring finger involvement?
Posts: 15350
Joined: Dec. 14 2004
From: Washington DC
RE: Arpeggio practice combinations (in reply to devilhand)
quote:
ORIGINAL: devilhand
What M. Sanlucar is doing in this video at 1:50-2:05 caught my attention. Does anyone know which technique it is? Or is it a normal arpeggio pattern without ring finger involvement?
Mainly a sort of two melodic note per bass Note picado, where thumb is apoyando and fingers are tirando. I often use the famous Bach Borree in Em to demonstrate to experienced classical players entering the Flamenco universe, some of the technique differences. Borree also works nice for the opposite technique where fingers are apoyando and bass notes tirando. The character of the music changes drastically.
RE: Arpeggio practice combinations (in reply to Ricardo)
quote:
Mainly a sort of two melodic note per bass Note picado, where thumb is apoyando and fingers are tirando. I often use the famous Bach Borree in Em to demonstrate to experienced classical players entering the Flamenco universe, some of the technique differences. Borree also works nice for the opposite technique where fingers are apoyando and bass notes tirando. The character of the music changes drastically.
Do you have video showing your Bach demonstration?
Posts: 15350
Joined: Dec. 14 2004
From: Washington DC
RE: Arpeggio practice combinations (in reply to devilhand)
quote:
ORIGINAL: devilhand
quote:
Mainly a sort of two melodic note per bass Note picado, where thumb is apoyando and fingers are tirando. I often use the famous Bach Borree in Em to demonstrate to experienced classical players entering the Flamenco universe, some of the technique differences. Borree also works nice for the opposite technique where fingers are apoyando and bass notes tirando. The character of the music changes drastically.
Do you have video showing your Bach demonstration?
No. I can make one of course. I’m looking forward to the disparaging comments and down thumbs for another blasphemous Bach interpretation. 😂😜
Honestly I was kind of surprised by comments I have received for my crazy Bach things.
Posts: 78
Joined: Apr. 23 2020
From: San Diego, CA
RE: Arpeggio practice combinations (in reply to fevictor)
Ricardo,
With all due respect to him (and I did like and admire his playing, and his taking on the challenge of that monstrous guitar), Narciso Yepes does not post here!
Posts: 15350
Joined: Dec. 14 2004
From: Washington DC
RE: Arpeggio practice combinations (in reply to devilhand)
quote:
ORIGINAL: devilhand
quote:
Mainly a sort of two melodic note per bass Note picado, where thumb is apoyando and fingers are tirando. I often use the famous Bach Borree in Em to demonstrate to experienced classical players entering the Flamenco universe, some of the technique differences. Borree also works nice for the opposite technique where fingers are apoyando and bass notes tirando. The character of the music changes drastically.
Do you have video showing your Bach demonstration?
RE: Arpeggio practice combinations (in reply to Ricardo)
quote:
ORIGINAL: Ricardo
quote:
ORIGINAL: devilhand
quote:
Mainly a sort of two melodic note per bass Note picado, where thumb is apoyando and fingers are tirando. I often use the famous Bach Borree in Em to demonstrate to experienced classical players entering the Flamenco universe, some of the technique differences. Borree also works nice for the opposite technique where fingers are apoyando and bass notes tirando. The character of the music changes drastically.
Do you have video showing your Bach demonstration?
RE: Arpeggio practice combinations (in reply to Ricardo)
A good comparison. Bach would prefer the flamenco version. Looks like the way your i and m pluck the string in the 1st and 3rd version is the same. But both sound different. Or did you just pluck stronger in the 3rd version?
RE: Arpeggio practice combinations (in reply to devilhand)
The idea of studying and practicing all possible arpeggio patterns is crazy. There must be a few patterns that are used more frequently than the rest. So I ask you guys what are the most frequently used arpegio patterns in traditional flamenco? Thanks for the input.
Posts: 1959
Joined: Jul. 12 2004
From: San Francisco
RE: Arpeggio practice combinations (in reply to devilhand)
PIMA PAMI PIMAMI
I think these are the most common, but VA does some crazy ones, as do many other players.
I'm studying PMI these days and realized I am pretty weak at it. Working on some Pepe Habichuela solea falsetas that need it. I'm doing planting exercises to reduce movement and increase speed, power, and accuracy.
Posts: 15350
Joined: Dec. 14 2004
From: Washington DC
RE: Arpeggio practice combinations (in reply to Mark2)
quote:
ORIGINAL: Mark2
PIMA PAMI PIMAMI
I think these are the most common, but VA does some crazy ones, as do many other players.
Those three are the essential ones, plus amiamiami repeating over top of simultaneous bass notes. Tomatito demos a falseta that teaches that on his Encuentro video. An important one to add is the horquilla hair pin arpegio that is p am i repeating. Niño ricardo used that one a lot.
RE: Arpeggio practice combinations (in reply to Ricardo)
quote:
ORIGINAL: Ricardo
quote:
ORIGINAL: Mark2
PIMA PAMI PIMAMI
I think these are the most common, but VA does some crazy ones, as do many other players.
Those three are the essential ones, plus amiamiami repeating over top of simultaneous bass notes. Tomatito demos a falseta that teaches that on his Encuentro video. An important one to add is the horquilla hair pin arpegio that is p am i repeating. Niño ricardo used that one a lot.
One other horquilla arpeggio - p m i - also seems to occur frequently so I'd add it to the list as well; or is there an argument why it shouldn't be on it? EDIT: Mark2 already mentioned it above.
RE: Arpeggio practice combinations (in reply to Mark2)
quote:
I'm studying PMI these days and realized I am pretty weak at it. Working on some Pepe Habichuela solea falsetas that need it.
Do you mean this pmi at 2:09-2:15? This pmi pattern already caught my attention. In another thread I even asked which Habichuela it was. Do you play pmi only on 3 treble strings as shown in this video or it can be used on any strings?
"Anything you do can be fixed. What you cannot fix is the perfection of a blank page. What you cannot fix is that pristine, unsullied whiteness of a screen or a page with nothing on it—because there’s nothing there to fix."
RE: Arpeggio practice combinations (in reply to Piwin)
Thanks Piwin. I really have to master this too. I'm concerned my arpeggio is getting superior to other techniques. I hope it will have a positive effect on my tremolo. What I noticed was my tremolo gets smoother and faster right after my picado practice. I guess it's because of I and M that are exposed to alternating fast runs.
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