Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
Olé thanks Ricardo! This piece has a bunch of choke points for me (most of them involve the parts with picado. No surprise there ). I can't wait to watch your breakdown when work finally slows down a bit.
_____________________________
"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."
Always look forward to these installments! Great teaching as always. This piece almost seems like a right of passage to master the arp-picado transitions. All the pro players can play it. The section at the 11 fret looks especially daunting. Whew! I might start working on one tiny part for an exercise.
nice to see your solutions to some of those tricky parts. I will try them out.
First time I worked on this I got to the difficult falseta in the middle that goes up high at 10th fret (sin cejilla) and gave up. Second attempt I got past that but got bogged down in the chords with the slurs.... maybe I will finally get all the way through some time!
I realize I skipped the slur section in the tutorial because whenever I get to that section it’s like I breathe a big sigh of relief, like “wooo, I made it... finish line up ahead”. After the fact I realized that those slurs might be really hairy for some folks, my bad. If I get some requests I might augment it with a break down of all that stuff.
Thank you Ricardo. I am never going to attempt this but I still enjoy watching. Your careful breakdown helps me to further appreciate Paco's genius. Then after deepening my understanding I watch him playing it, and it's as if I've never seen him before. His amazing talent almost seems unbelievable.
Thanks for the video Ricardo. Just after the 18.00 you talk, I think, about starting the picado run with the i finger. Earlier I think you said something about thinking about picado runs as 3 notes. Does that mean you start every 3 with the i finger in a run?
Thanks for the video Ricardo. Just after the 18.00 you talk, I think, about starting the picado run with the i finger. Earlier I think you said something about thinking about picado runs as 3 notes. Does that mean you start every 3 with the i finger in a run?
Cheers
The vast majority I think, when ascending. But it depends. If I’m learning I simply try both and settle for the more comfortable one, and if both are equally awkward feeling I will examine left hand options. That’s basically the deal with the bit at 46:00
That's interesting. When I was originally working on speed I muted the strings and snapped off imi followed by mim etc trying to make sure both speed and sound were exactly the same. After that, for me, it has now become interchangeable. I would have thought that was fairly standard but what do I know - as I said previously I do not get out much musically.
That's interesting. When I was originally working on speed I muted the strings and snapped off imi followed by mim etc trying to make sure both speed and sound were exactly the same. After that, for me, it has now become interchangeable. I would have thought that was fairly standard but what do I know - as I said previously I do not get out much musically.
Cheers for the response.
PS have yet to get to the 46.00 mark.
That’s actually a very good exercise for right hand. Again I will try things starting both ways because sometimes the problems don’t occur at the start but later on in a fast passage. I have simply noticed in this particular piece after working a lot on pacos fingerings, that I was fighting an uphill battle unnecessarily.
Again I will try things starting both ways because sometimes the problems don’t occur at the start but later on in a fast passage. I have simply noticed in this particular piece after working a lot on pacos fingerings, that I was fighting an uphill battle unnecessarily.
However you go about it you seem to make it appear pretty effortless.
Thank you, Ricardo. I picked up another couple of ideas from this (as I have before when we'd discuss it in the Ramzi Guajiras de Lucia project thread. Another couple of weeks to absorb them and I should really record my progress, with capo at 1, as I keep threatening.
BTW, when you say in the video that the tempo gets ramped up after the intro, I figured out a way to "see it" as the same tempo - for both intro and body of the piece - and thus I can keep a metronome going from the beginning at the same pace for practice. It fits with the actual speed of both pretty well.
At the recording's speed, if one gets a metronome going at 100 clicks/min, the clicks happen here for the intro:
And here for the main body of the piece:
Images are resized automatically to a maximum width of 800px
Good idea. I often use a metronome that has a 3/4 option where you have a different sounding click on the “one” if you want. So in this case I would have to go with straight click only or again change the click to 2/4 for the double time section.
I figured out a way to "see it" as the same tempo - for both intro and body of the piece - and thus I can keep a metronome going from the beginning at the same pace for practice.
I realize I skipped the slur section in the tutorial because whenever I get to that section it’s like I breathe a big sigh of relief, like “wooo, I made it... finish line up ahead”. After the fact I realized that those slurs might be really hairy for some folks, my bad. If I get some requests I might augment it with a break down of all that stuff.
it wasn't that i found the slur section particularly difficult, i think i was just too exhausted by the effort of learning the previous bit to carry on!
Thanks Ricardo. I worked on this piece for awhile. The hardest part for me was there is a lot of horizontal stretching needed, something I am not so good at. It all begins at the third chord, a capo helps some. Here is another good rendition where you can see the fingers real well. Extremely well played, but not as good as the Paco video IMO.
_____________________________
Ah well, there was a fantastic passion there, in my case anyway. I discovered flamenco very early on. It grips you in a way that you can't get away - Paco Pena
Printable Version
). I can't wait to watch your breakdown when work finally slows down a bit. 
New Messages
No New Messages
Hot Topic w/ New Messages
Hot Topic w/o New Messages
Locked w/ New Messages
Locked w/o New Messages
Post New Thread