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Solea Arpeggio's
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Doitsujin
Posts: 5078
Joined: Apr. 10 2005
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RE: Solea Arpeggio's (in reply to n85ae)
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Here you see some basic arpegios: http://www.planet-wissen.de/pw/realpopup_dsl,,,,,,,,,,,,,,,,,,,tempx_flamenco_gitarre_h.rm,,,.html
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Date Sep. 6 2007 20:48:33
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Ricardo
Posts: 14822
Joined: Dec. 14 2004
From: Washington DC
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RE: Solea Arpeggio's (in reply to n85ae)
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Make sure you are very strong with this first: E---------0---------- B-------0------------- G----1--------------- D-2-----------3------- So you can do that real fast, and also this: E-------0------------ B---------0-------- G-----------1------- D-2-----------3------- Once you have those two really even and can go really fast, it just a matter of practice. But I find the problem is between the last a finger and m finger switching directions. pimaMi. So I made an excercize with 5 notes where you go pimam, and leave a space for inex, then start again. Each time you stop on that m finger, it is on the b string, you change the melody note. I tabbed it somewhere, and will look for it again. Anyway, most students that can do that fast, can easily do the full arp pimami. I have vid lesson of these types of arps at flamenco-teacher. Also be aware if you are doing FULL plant or sequential plant. Full plant makes it easier for me to go fast, but some players are much faster than me (like Nunez) that NEVER do the full plant. Ricardo found it: http://www.foroflamenco.com/tm.asp?m=17801&appid=&p=&mpage=1&key=pimami&tmode=&smode=&s=#17805
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Date Sep. 6 2007 22:41:00
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Stu
Posts: 2536
Joined: Jan. 30 2007
From: London (the South of it), England
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RE: Solea Arpeggio's (in reply to n85ae)
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Hey, another good practise technique for this (as well as everything else) is overlapping/underlapping. Its helped me a great deal especialy with my continous rasgueado. basically it goes like this...... for arps... .....If you are playing pimami, pimami etc,...then you have six strokes. For underlapping, Play very slowly and precisely and count each stroke as you go. Count in fives. 1,2,3,4,5,1,2,3,4,5 etc and stress every stroke on the count of 1. So you'd end up with.... PimamIpimaMipimAmipiMamipImamiP......etc etc 1234512345123451234512345123451.....etc etc You are basically changing where the stress is everytime. The stress moves in the opposite direction of the apr. For overlapping you just count in sevens and again stress every count of one. this time the stress moves in the same direction as the arp. Does this make sense?? It may sound confusing here but once you try it you will see how it works and its fairly straight forward. Once you've cracked it its good to use on other techniques aswell. Stu
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Date Sep. 7 2007 15:34:15
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Ricardo
Posts: 14822
Joined: Dec. 14 2004
From: Washington DC
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RE: Solea Arpeggio's (in reply to XXX)
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quote:
Hey Ricardo, how do you see the concept of no planting at all? So, literally free stroke, your fingers dont touch the string beforde hitting. There is no such thing. Even if you think you are not, you are. You can't play a note with out first "touching" the string. Even if you only touch the nail, you still touch first before plucking. The plucking is when the strings slides off the nail and produces vibration. But in flamenco, you should never be touching with ONLY the nail. (Not talking rasgueado of course). The better plant you have, the more secure your tone, volume, control etc, will be. Same goes for classical guitar I guess. Ricardo
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Date Sep. 7 2007 18:19:27
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