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Fast pimami anyone?
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Ron.M
Posts: 7051
Joined: Jul. 7 2003
From: Scotland
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RE: Fast pimami anyone? (in reply to rickm)
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I don't get this "even" arpegio myself.... Arpegio is arpegio, as long as it's done in the same time span, then who cares? Asymmetrical arpegio is normal and often used as a "feature" in Flamenco, the degree and amount of asymmetry adding to the rhythm and effect of the passage. Listen to lots of Fandangos de Huelva, and you'll hear what I'm talking about. The arpegio is very "syncopated" in accent and will even change bar by bar, through being even on the forward, slower on the back, thru being very even both ways, and back to being lop-sided, but this time faster on the reverse arpegio. They used to say that Classical players were actually frustrated Flamenco players, but on reading some of the technical stuff on the Forum over the last few months, I sorta feel that maybe some players here may be better suited to taking up Classical? cheers Ron (stirrin' it again.. )
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Date Apr. 25 2005 20:46:46
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Ricardo
Posts: 14745
Joined: Dec. 14 2004
From: Washington DC
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RE: Fast pimami anyone? (in reply to gshaviv)
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Ron, what happened to my rhythm guy? quote:
I'm not talking about not keeping timing, but the difference between being on the beat and right, smackaroonie , in the (Jack Nicholson), goddamn centre of that beat! Ha, I dug that one up! Really man, I think if a student doesn't work on this thing steady, smooth, and "Spot on", then it will never sound quite right, even when playing "libre" or deliberately stretching the tempo. It has to be "como el agua" you know? That won't be achieved unless a smooth rhythmic flow is worked on at some point. Ricardo
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Date Apr. 26 2005 5:23:33
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Miguel de Maria
Posts: 3532
Joined: Oct. 20 2003
From: Phoenix, AZ
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RE: Fast pimami anyone? (in reply to gshaviv)
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Hi guys, just back from Honolulu to visit my family. Ah...what a great vacation. Anyways, back to work! to get a fast pimami, there is a solution that has not been mentioned here. It consists of 1) the full plant, and 2) breaking it into pim and ami The full plant is, I feel a quick way to get a hold of this "effect". Some may feel that it is cheating, but it is merely a path to the sound you want. To start, place pima on the strings, and pluck them all together. Then do it so they are briefly staggered, a roll. It should sound almost like a strum. Work on getting them to sound like seperate strokes and not melt into each other sloppily. The other thing is that what we have can be considered to be a composite of pim and ami--two seperate moves that are to be musically heard as one arpeggio. However, the technique is really two "programs"--onefor pim and the other for ami. Practice planting each as mentioned in the preceding paragraphs. The second step is to merge them together quickly--two "plants" for one arpeggio. You should find that you can achieve all the speed you need very quickly with these methods. The more time consuming part is to achieve the seperation and proper attack, that is the "sound".
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Date Apr. 26 2005 20:36:27
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Miguel de Maria
Posts: 3532
Joined: Oct. 20 2003
From: Phoenix, AZ
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RE: Fast pimami anyone? (in reply to gshaviv)
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Interesting to see a thread from a decade ago continued in such a way. Especially since I was part of the conversation. Looking back, it seems to me all the advice is applicable, even though it is different and may even conflict. This just goes to show that trying things different ways, that attacking a problem from different angles is helpful. Also that "everything helps". Technique is wide and it really doesn't hurt to spend time on each different circumstance, each different way. Todd's comment about ignoring the wave motion and focusing on independent action makes total sense. It helps to work this way. Each finger moving as if it did not share any tendons or connections with the others. Complete independence. The rest of the hand totally relaxed, almost dead. This is good practice and also helps to diagnose unnecessary tension. Philip Hii talks about this in his book. He also advises to practice imami, over and over again, totally relaxed, and to work that ex. up to high speeds. But the wave like motions or sequences, bursts, etc. are also important. They are the "fast imami program" we have to use at speed. The am in reality is one motion, kind of a combined, staggered stroke. It wouldn't hurt to practice it thoroughly. VillaLobos' Etude #1 will help this and any other arpeggio.
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Date Aug. 15 2015 16:23:55
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