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Felipe Coelho on picado
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kitarist
Posts: 1721
Joined: Dec. 4 2012
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 RE: Felipe Coelho on picado (in reply to Piwin)
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quote:
@kitarist Would you see any point though in letting the prep finger "hover" instead of doing staccato for that exercise of focusing on simultaneity of movements?
I can't quite see the point of it for SLOW practice. At (fast) speeds, this IS what happens - the 'prep' is over the string rather than touching it and we are not playing staccato anymore. But the general practice for that is the staccato slow practice.
I am also not sure about his advice (or rather the way he justifies it) to keep the fingers hovering as close as possible. Just thinking aloud here. I think it is OK in the context of a correction to excessive flailing about, but not sure beyond that - as a forced distance minimization to be practiced slow, for itself. He says physics, something, most efficient that way.
But is 'efficiency' the biggest issue? I think he is talking about being able to go faster rate if smaller movements. But I also care about the sound generation - the finger has to have enough momentum for that sudden release and punchier sound therefore.
So isn't it more important to develop explosive acceleration, basically impulse-like force generation; twitching? And only then work on reducing excessive flailing if present, but without artificially/forcefully limiting finger excursion, i.e. without tripping the natural movement which is the result of a good impulse/twitch? In other words, reduce flailing as a natural consequence of developing a better impulse control for the stroke and reset - i.e. not more than needed force and at exactly the right times.
So what if the fingers as a result reset somewhat farther from the string - (1) maybe they need the little extra head start before touching the string for the explosive punchy stroke at very fast scale speeds, and (2) it may be where they end up naturally as you execute twitching/impulse-forces.
BTW, the required forces are so small when done properly in time and duration, and we have plenty of excess capacity and time for reset when alternating (even more so for the ami picado that he talks a lot about in the video).
I guess I have doubts about the general approach of focusing on certain movement/distances rather than focusing on what is behind it that makes the distances and movement more refined as a consequence.
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Konstantin
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REPORT THIS POST AS INAPPROPRIATE |
Date Jun. 2 2020 18:28:07
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kitarist
Posts: 1721
Joined: Dec. 4 2012
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RE: Felipe Coelho on picado (in reply to rombsix)
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quote:
ORIGINAL: rombsix
quote:
sorry late to party, i think this cat has one of the best 3 finger picados:
Fantastic!
Eh.. an extra finger, and extra string.. too much cheating 
OK, seriously, it sounds the best I've heard of ami picados(*). But how does he do when the scale run does not line up nicely at 3-per-string and/or it is not in triplets per pulse?
EDIT: Here' something that may be of interest - I noticed that he does anchoring with the 'a' finger during the run - Once it's played, the 'a' finger stays on the string it just rested on "waiting" for the 'm' and 'i' to finish their strokes and rest on the same string, and only then it's reset. Not much of an 'a' reset too - hardly lifts it, more of a dragging stroke to the next string up (I've only seen descending scales)
I tried that (not with the 'a' drag; just the hold) and it feels initially quite awkward as it interrupts the temporal symmetry in finger 'cycling' through their phases - I want to reset 'a' as soon as 'm' does its stroke.
So it feels awkward and rhythm-interrupting, but I wonder if it is that 'anchoring' and dragging which allows him, for runs that line up nicely as 3-per-string, to achieve that 'flow'. As in just feeling 'a's: A m i A m i A m i
EDIT2: So in terms of learning it, I'd imagine something like this: start with the flamenco descending arpeggio 'a' finger drag - but a bit more slowly than usual, and after each string is sounded with the dragging 'a', insert 'm i' strokes.
(*) Upon closer inspection, I'd say this is actually a dragging picado technique not unlike Rafael Cortes's "m i-i m [i m i m] i-i" except here 'a' holds and drags instead of 'i'. Or is this a distinction without a significant difference with regular picado? I thought it is different, but now doubting myself after I wrote this.
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Konstantin
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REPORT THIS POST AS INAPPROPRIATE |
Date Jun. 5 2020 18:01:59
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