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RE: A 2008 challenge?
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Mark2
Posts: 1871
Joined: Jul. 12 2004
From: San Francisco
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 RE: A 2008 challenge? (in reply to Florian)
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Well my "a" finger is a bit weak, so by using a and m together I get a faster , louder and more even sound. But that's just me. I still consider the way I do it three separate strums-thumb up, am down, thumb down. I am only using "two fingers" and maybe that's why it's easier for me to go louder and faster than with the p,a,i version. I feel the two fingers together also give me more power than just "a" down. I think whichever way you practice most is likely to be your strongest, but it also could be a matter of finding out which way works best for your hand. As I said in another thread, I spent years trying to get a ras my first teacher used solid, and it never happened with consistancy.
There's a very good guitarist in the States named Pedro Cortes and he does the one Ron wrote about really well, so that one is a powerhouse as well.
quote:
ORIGINAL: Florian
thanks Mark..
I used to do that one alot but i found it very eazy to go uneven but maybe thats just cause i hadent practiced it enough..but i found it eazy to overspin or underspin
i find that when 3 fingers are involved ..it makes it more perfectly even for me and harder to spin out into uneveness
but perhaps i should give it another go ? ...have u used the P up..A down..I Down repet..(same concept and motion as yours only instead of just two strums per cycle theres 3)
how does it compare to that one for volume, evenes, intecity ? il practice anything as long as i know that thats the one most likely to get me what i want...
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 4 2008 13:08:48
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Ricardo
Posts: 14818
Joined: Dec. 14 2004
From: Washington DC
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RE: A 2008 challenge? (in reply to Florian)
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florian, for me it depends on the rhythm I am trying to make. If they are 4's or 8's per beat like Solea, Alegrias, etc:
amii,amii, amii, amii, etc. To make it louder I might dig in harder. If I needed much louder then like you guys described just move the wrist like you have a pick down and up really fast and hard, no accents, but you keep the feeling of 4's. That feels like ami down as one stroke, then P up as the other. And you need to hold chord that uses all 6 strings.
Very rarely, there is a dynamic between those where I will do 4' or 8's using p-am-p as mark described, but the rhythm is very synchopated and might throw off the palmeros (unless they are really good), so it depends on the situation where I might use it.
Talking more about continuous tresillos that you would use in bulerias or 6x in solea/Alegrias, I have more options. in order of dynamics:
p-a-i, but depending on the strings I target, I can do this one very very soft or very very loud.
i-a-i, again I can target trebel strings or basses depending on the sound I want, and do this both very soft or very loud as I need. I would say I have more control over dynamics with both of these technques than any others. I may spring off from a pattern ami,then i-a-i,i-a-i, etc.
Likewise, with the same concept as i-a-i, I can do 4 notes per beat crammed in the same tempo using eami,iami,iami,iami,iami, etc. In bulerias this is nice.
Then the "morote" triplets. This one I need a certain minimum speed to produce, it is best on full chords using all 6 strings, and again starting at a loudish volume. So the dynamics are more limited for me with this technique. But it is real fun.
p up, m down, p down-that one is loud. To get louder I add fingers.
p am p, like mark does, is very loud.
p ami P, is extremely loud. I really stiffen the hand and dig in on this one. I demoed this for Gerardo in class when he asked around the room about tresillos that everyone liked, and he laughed!  It is actually funny how loud you can make it if you try.
And I can go one better than that using what Ron describes, and I describe above, you just go up and down with the wrist really hard and fast, but if you want triplets you can TRY to accent, but you don't have to. Again, you can just feel the rhythmic groupings in 6 or 3 or whatever you are making.
One more thing, I might do the Marote triplet as synchopated 4's or 8's in bulerias (like the iami,iami, rhythm), again it might be weird for the palmeros. A lot of dance accompanists will do this if the tempo is such that triplets feel not energetic enough. In the end it is just a personal thing to do what works and feels right.
Ricardo
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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REPORT THIS POST AS INAPPROPRIATE |
Date Nov. 5 2008 4:56:49
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if you tell me what it is i might BUY it, so it's good advertising! 
whatever works amigo, ..but anyway now u can experiment with one or 2 of those see wich gets the sound u want better