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Gerardo Nuñez vs Gerhard Graf-Martinez
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Francisco
Posts: 879
Joined: Jun. 13 2005
From: SW USA
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 RE: Gerardo Nuñez vs Gerhard Graf-M... (in reply to DavidT)
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I don't have the Nunez DVD, but I do have Gerhard's Vol 1 DVD. My background is classical, and have played with the idea of learning flamenco for years, but have only been at it a few months. For my level, Gerhard's DVD works great. I'm focusing on the RH at the moment as well as the different counting approach. Still very basic. If you do go with Gerhard's DVD, try to buy the book with it if you are ordering the NTSC (sp?) conversion as the notation cannot be read from the on screen example. He has a solution for it which requires emailing him the serial number of your disc.
Anyhoo, I recomend it for someone at my level, but you sound more advanced than me so I'm not sure it's what you need. The Nunez DVD seems to be the opposite end of that extreme, seemingly a bit to advanced. Haven't seen it tho, nor have I seen Gerhard's Vol 2 which I'll be buying as soon as I get vol 1 under my belt. It takes me a while since I usually clock about 48-60hrs a week at work, and a family on top of that. It may take a little while. Head strong determined for love of the art, gotta love it.
.02 worth
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REPORT THIS POST AS INAPPROPRIATE |
Date Jun. 27 2005 2:56:13
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sorin popovici
Posts: 427
Joined: Jan. 7 2005
From: Iasi, Romania
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RE: Gerardo Nuñez vs Gerhard Graf-M... (in reply to DavidT)
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well , for me it worked.
I already had some fast pima arpeggios from classical .
But pami arpeggios is still hard to do fast .It's harder when u see things like
----0-----------0----------0-------------------
-------0-----------0---------0----------------
--1-------1-2---------2-4------4---------------
-------------------------------------------
--------------------------------------------
--------------------------------------------
this example is sone entirely with p a m i arpeggios .
See the 1-2 on the G string?the G# u play with i and the A with the pulgar.
This is hard at fast tempos.I mean pami if i and p dont play the same
string is easier.But this exercise is good cause it showed me my limits.Btw
pulgar is Always playing apoyando.
Damn ....i forgot what u asked.
There is this book in classical guitar that's all about
the right hand ..i forgot the name of the book and the author
,i'll edit later when I'll remember.
Now , in that book the author emphasis on how important
is the a finger.There is this paradox...a is the weakest
finger and he always have the most difficult task,deliver
the melody(in most songs , sure there are pieces where
the melody is on the bass entirely ...like Leyenda (Isaac Albeniz)).
Because he has the hardest task , he must be trained very good.
U only train that finger when u do arpeggios and tremolo and
rasgueados.That's not enough ....u may think it's enough
but until u see what's really to have speed in arpeggios, it's
hard to believe ...but if u see it ,u'll know that Nunez and the
guys from classical are right to tell u that u have to do picado
with all the fingers.In segovia's diatonic scales he also says
that u should practice with them all , but i have no Segovia
DVD instructional :D.
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Date Dec. 16 2005 14:05:20
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Skai
Posts: 317
Joined: Sep. 12 2004
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RE: Gerardo Nuñez vs Gerhard Graf-M... (in reply to DavidT)
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From a classical point of view, there's a very good reason and also a definite must to train apoyando with all combinations. The reason is simple, they help with scale runs (duh..  ) and just about any other technique.
Why do you train im, mi, ma, am, ia, ai and later on, 3 finger combinations? It's to train speed, accuracy and even right hand finger development. A technique that will improve because of even development is tremolo. In flamenco, I find that the extra note covers up irregular or uneven tremolo. In fact, PdL's tremolo is uneven with a purpose. But what about classical pami tremolo? If your tremolo is uneven, irregular or not articulated, it's very obvious even to amateurs and you sound plain stupid. That's why I train ami rest strokes as well.
They build strength as well to help in arpeggios etc. Sure you only use im in the end. But classical players often use im for scale runs in pieces and yet they practise with all combinations with other fingers.
This concept is explained very well in Pumping Nylon as well and training all fingers is one of the few 'must-do exercises' in classical and I'm 1001% that it'll help greatly in flamenco.
Just some of my thoughts.
Cheston
_____________________________
Try some Enrique Iglesias for some great cante.
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REPORT THIS POST AS INAPPROPRIATE |
Date Dec. 16 2005 15:58:07
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Not that I'll ever be able to play his tunes but he does give some very good exercises. They're great to warm up with and just to keep up your chops. I like the DVD also because he tells you how it really is. No sugar coating, extremely informative and detailed. 
