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Sacrilegious flamenco beliefs aside, I think the "nail attack" technique lends itself very well to the flamenco sound: it's percussive, but uses the strings as its drum. The benefit of this technique is that in addition to a percussive sound, it also produces the pitch of whatever note is being played which lends itself a unique "punchy" sound. The technique is not too difficult to learn, and actually fits in very well with the traditional Flamenco sound and hand-position despite originating on a steel-string guitar. Basically you are hitting the strings with the top of your m and a fingernails (top meaning the the pink part of the nail, not the white) in a sort of jolted motion.
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Joined: Dec. 14 2004
From: Washington DC
RE: If you could pick just one techn... (in reply to bobbywest87)
Well this is like a combo of “tambour” and basic rasgueado with the unused fingers....tambour gets the bassy thud near the bridge, Sabicas and others have used this, but typically with the thumb not the nails of the fingers, and the rasgueado that doesn’t follow through is used, but the “thud” is avoided by not playing so near the bridge.....the reason is we want a rounder sound for rasgueados, that type of thing near the bridge sounds pretty weak. Rhythmically speaking the type of thing your steel stringers are doing is similar to R. Montoya hear at :50 and throughout the piece:
It only sounds different because he is not targeting small groups of strings near the bridge like your steel players are doing, however it is basically the same technique musically.
RE: If you could pick just one techn... (in reply to bobbywest87)
Thanks Ricardo,
Montoya sounds like he is doing a strum vs a solid hit, but I do understand what you are saying. Montoya and Oshio (from the first video I posted) both appear to use this as a way to keep the beat like a drum - though you could probably speak more to that than I could since you play drums. For lack of a better term, it's almost like filler notes.
If you happen to know what Sabicas songs use this technique, I would love to know since I'm not as familiar with his music.
RE: If you could pick just one techn... (in reply to bobbywest87)
The Pete Townshend windmill. Obviously.
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RE: If you could pick just one techn... (in reply to Leñador)
lol When you get that Lester Devoe of yours, I dare you to put a whammy bar on it.
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"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: If you could pick just one techn... (in reply to bobbywest87)
Ahh yes, how could I have forgotten Spanish Fly? First time I heard that song I couldn't believe anyone could play that fast on the acoustic guitar (note this was about 14 years ago, and I've only just started studying flamenco a little over two years ago).
I like to imagine Eddie playing that first part using picado, but most certainly it's just a pick. Otherwise, Eddie is the best kept secret picado-expert on the planet.
RE: If you could pick just one techn... (in reply to bobbywest87)
Not really a technique but I would add a coil split to flamenco guitars.
It would allow switching between a robust negra sound and a jangly blanca.
At least with electrics it works pretty well for a LP/Strat sound. I guess the mechanical solution on a flamenco guitar would be having a device that would switch the action between 3.5mm and 1.5mm for immediate effect
RE: If you could pick just one techn... (in reply to bobbywest87)
A Wes Montgomery style octave approach played with the skin of the thumb not the nail. I am pretty sure this technique would already have been explored by someone.
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RE: If you could pick just one techn... (in reply to bobbywest87)
...and then there is the "Duct Tape" technique.
It's been the rage for years on NW US Coast...It's fairly applicable for flamenco too.
As Kurt Cobain would demonstrate. Taking his left hand. Throw his guitar up in the air. Let it fall onto the stage and feedback while walking off stage.
Here is where the "Duct Tape" technique comes in. Kurt would duct tape loose part and structure on the guitar; Tune up; Ready for the next gig.
I wouldn't mind seeing the "Duct Tape" technique done with a few so called factory made "Flamenco" guitars.
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RE: If you could pick just one techn... (in reply to Leñador)
Haha - I was gonna say that too. Will have to settle for burning and smashing. Could work really good in martinetes, especially when used with Tom Araya style jaleo.
Makes me wonder if they (or anyone else) ever did Raining Blood in Spanish? And which palo would you use for that anyway?
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