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I signed up to an online course in part because the guy sent me an example exercise for an Em scale.
It included several bars of compas, followed by a short and a longer scale with more compas between, and a remate. Thus I could go for just the scale, but easily build upon it.
I think well thought out exercises do not have to be boring and limited. They can give you a context but still achieve the objective.
I have seen here several times people saying that they should have learnt less falsetas and focused on the compas. But for those like me who will never be professional, enjoying the journey if anything is more important than the result. Playing a nice melodic falseta gives me a buzz and makes my spanish non-flamenco family happier
Just my two pennies worth
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nigel (el raton de Watford - now Puerto de Santa Maria, Cadiz)
I try to practice technique all days and I feel that some exercises are a waste of time.
don't do those ones
seriously, think about what you are trying to achieve, and what you are using any exercise for.
I don't think any exercise is a "magic bullet" that will necessarily improve technique, unless you use it and practise it in a way that improves technique, in which case it can be really useful.
I use exercises to warm up and to work on technique. I like ones I can transpose into different keys so I can practise them regularly without getting bored.
The most effective exercises for me have been practicing very short phrases or rhythmic patterns with a metronome and slowly bumping up the speed. Boring? Very. But effective. This is is contrast to learning some cool long exercise and playing it half assed over and over again all the way through.
The most effective exercises for me have been practicing very short phrases or rhythmic patterns with a metronome and slowly bumping up the speed. Boring? Very. But effective.
Same with me, just that I would practice falsetas or maybe even whole pieces. I noticed that starting from lower tempo, and doing that for 20-30 minutes noticeably improves my control and precision when playing, which further motivates me to practice/play and makes me enjoy more.
Regarding exercises, I rarely do any but when I do I usually do those from Oscar Herrero's Paso a Paso or DVD of Gerardo Nuñez. This also helps me gain more control when playing.
There are a couple exercises that I think significantly improved my golpes and picado. For golpe, I used the following exercise to learn it in the first place because when I started playing I just could not hit golpe while strumming with I downstroke. It goes like this: I down, I up, (m)a golpe without strumming, I up; repeat. I am not sure exactly where I got it, most possibly it was on this foro some fifteen years ago, but it did miracle for me after only 10 minutes. The trick is that while doing golpe without strumming you are moving I down without concentrating on it, so later you can just naturally plug the strumming in.
For picado, I found this recently from a player in Paris. It has several steps. First, I play with a metronome to get the rhythm right and learn the notes well until I play it comfortably. Then, I play it without metronome two-by-two notes with a small pause between pairs, and then three-by-three with a small pause between triples. Then I do the same, but starting by playing the first note of the picado alone (so, play the first note, and then do pairs/triples. Imagine a picado, four notes per beat, like this:
ti ta ti ri ti ri ta ri...so you do: ti ta__ti ri__ti ri__ta ri...then ti__ta ti__ri ti__ri ta__ri...then ti ta ti__ri ti ri__ta ri...and finally ti__ta ti ri__ti ri ta__ri...
I hope you get an idea, maybe I could make a video for you so let me know. Have anyone else worked the same exercise before? I really wonder what you think about this exercise?
I am not sure exactly where I got it, most possibly it was on this foro some fifteen years ago, but it did miracle for me after only 10 minutes. The trick is that while doing golpe without strumming you are moving I down without concentrating on it, so later you can just naturally plug the strumming in.
I hope you get an idea, maybe I could make a video for you so let me know. Have anyone else worked the same exercise before? I really wonder what you think about this exercise?
I used to offer this up for general rhythmic control. It’s from drum rudiments called “tap timing” exercises.
Woow, yesss :) I could have put my bet that it was here, but I would never remember that I actually participated in the thread...nevertheless, at least I said 'thank you' back then, and this is so great I would like to buy you a round of drinks Ricardo. Just send me your paypal on pm and I'm doing it. I really would like to buy you some drinks :)
quote:
I used to offer this up for general rhythmic control. It’s from drum rudiments called “tap timing” exercises.
For picado, I found this recently from a player in Paris. It has several steps. First, I play with a metronome to get the rhythm right and learn the notes well until I play it comfortably. Then, I play it without metronome two-by-two notes with a small pause between pairs, and then three-by-three with a small pause between triples. Then I do the same, but starting by playing the first note of the picado alone (so, play the first note, and then do pairs/triples. Imagine a picado, four notes per beat, like this:
ti ta ti ri ti ri ta ri...so you do: ti ta__ti ri__ti ri__ta ri...then ti__ta ti__ri ti__ri ta__ri...then ti ta ti__ri ti ri__ta ri...and finally ti__ta ti ri__ti ri ta__ri...
This exercise (1st video) looks useful along with Scott Tennant's speed bursts exercise for scale (starts at 6:24 in 2nd video).
For rasgueado, any kind of exercise that allows you to stress different fingers on the beat (amii over triplets, p-am-p over 16th notes, etc.).
Throw in a bunch of thumbwork (focusing on tone), including alzapua (a good one for me for that one is to vary the number of strings the alzapua is played on. For instance, 6th string, 5th, 5th, 6th. Then 6th, 5th and 4th together, 5th and 4th together, 6th, etc.).
With rasgueado and thumb you have pretty much all you need for 90% of stuff so focusing on that definitely helped my playing more than arpeggio or picado exercises.
For picado, staccato exercices. That and speed bursts where you add notes along the way. (a burst with 2 notes, then 3, then 4, etc. until you get the whole phrase in one single burst).
The speed burst thing also helps me a lot for arpeggio and tremolo. For tremolo I practice the bursts as iamip. For arpeggio it depends but i'll usually start on p and end on p.
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I wanted to make sure that my left hand was walking the strings and frets with precision. Also, that I was getting good clear sound from each note. So, I took some studies, waltz and little classical pieces from a finger picking course I bought ages ago. To maintain good sustain it was necessary to use all four LH fingers independently. And with the RH get good consistent string contact. Problem is I now quite like the pieces, so they have moved from being exercises to being part of my repertoire. Next I’ll be buying a classical … HELP
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nigel (el raton de Watford - now Puerto de Santa Maria, Cadiz)
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