WOOT! New Cordoba in the house...

[The Old Anglo]

Love the "TeePee" Shots Johnny. Some Really Nice Guitars there..Kudo`s!!.

Now,how can I get a copy oy your Flamenco Jazz?. Thanks Man!!!!.

[Red_Label]

Originally Posted by The Old Anglo

Love the "TeePee" Shots Johnny. Some Really Nice Guitars there..Kudo`s!!.

Now,how can I get a copy oy your Flamenco Jazz?. Thanks Man!!!!.

Send me a PM with your address and I'll send you one.

[The Old Anglo]

P.M. sent,let me know if you got it. Thanks, Hal

[BuleriaChk]

My answer was to go full on into three finger (ami) picado as a generalized technique (with an understanding that two fingers, slipping fingers, etc. are appropriate for certain things....), although I could swear PdL was using two when I saw him in LA for that Entre Dos Aguas run. But when I shook hands with him after the concert, his hands SEEMED normal to me..... And after a long, long, time practicing (and after I discovered some of the tricks... or rather falsetas to focus on), it is only now barely becoming comfortable.... The issues are, of course, crossing strings, and developing strength and accuracy between the ring and middle finger, especially since the string tension is highest closest to the bridge....

That's my theory, anyway, but there were long periods in my life where I couldn't practice at all, and time's running out.......

Bursts (redoubles) are easy, it is the long extended runs, or melodic sequences that preserve the rhythm and power of the compas that are difficult...

However, Serranito certainly uses three (he studied with Narcisco Yepes).....

I once asked Sabicas if he ever used three finger picado, and he grinned and said "only when I want speed and power"..... (sigh...)

Originally Posted by Red_Label

I know. I grew-up listening to guys like Sabicas, so the bar was set high in terms of technical facility and though I became quite competent with the standard classical repetoire, which included some tour-de-forces... I just couldn't get the snappy single-note scale speed that I wanted to via my right-hand fingers. Scott Tennant's "Pumping Nylon" book had some great exercises that got me started, but I just couldn't develop the speed I desired even with those.

[Red_Label]

Originally Posted by The Old Anglo

P.M. sent,let me know if you got it. Thanks, Hal

Didn't work. And when I tried to send you one, it said that PM'ing was disabled for you.

Shoot me your address to my personal email account ([email protected]) and I'll get ya a CD.

[Red_Label]

Originally Posted by BuleriaChk

My answer was to go full on into three finger (ami) picado as a generalized technique (with an understanding that two fingers, slipping fingers, etc. are appropriate for certain things....), although I could swear PdL was using two when I saw him in LA for that Entre Dos Aguas run. But when I shook hands with him after the concert, his hands SEEMED normal to me..... And after a long, long, time practicing (and after I discovered some of the tricks... or rather falsetas to focus on), it is only now barely becoming comfortable.... The issues are, of course, crossing strings, and developing strength and accuracy between the ring and middle finger, especially since the string tension is highest closest to the bridge....

That's my theory, anyway, but there were long periods in my life where I couldn't practice at all, and time's running out.......

Bursts (redoubles) are easy, it is the long extended runs, or melodic sequences that preserve the rhythm and power of the compas that are difficult...

However, Serranito certainly uses three (he studied with Narcisco Yepes).....

I once asked Sabicas if he ever used three finger picado, and he grinned and said "only when I want speed and power"..... (sigh...)

Interesting. I dabbled with 3-finger, but mostly focused on two finger (im). I usually reserved my 3-finger practice for the usual classical tremolo at the time. Perhaps I'll give 3-finger picado another "college try".

[BuleriaChk]

I dunno if three-finger is worth the effort, since you (or at least me) pretty much have to focus your artistic life on it to develop it thoroughly. (Of course it depends on your personal Flamenco standards as well).

Certainly it is more logical for Flamenco, especially the 6/8, 3/4 palos (12 note runs, hemiola, etc.) If you can get comfortable, especially for improvisation on melodic patterns ... but the number of people that understand those patterns is very, very small outside of Spain (and even in Spain, come to think of it)....

At this point, I'm convinced strength is the major issue (and accuracy, of course), and you have to go SO slow to develop these properly. And then Sabicas had short pudgy (well, ok, muscular and strong) fingers.... so a lot of very boring time to develop, unless there are sympatico gitanos around ..... (well, ok, there is looping nowadays)...

Diego only used two, of course, but then he didn't have anywhere near the technique .....
(but he DID have the art, of course..... but you kind of had to be there.... nevertheless in a serious fiesta, hemiola integrated into falsetas (using techniques other than picado) was one of his strong points, although he just noodled around in formal situations (festivales, "concerts", etc. If there was no one around to appreciate what he was good at, he just didn't do it....)

Originally Posted by Red_Label

Interesting. I dabbled with 3-finger, but mostly focused on two finger (im). I usually reserved my 3-finger practice for the usual classical tremolo at the time. Perhaps I'll give 3-finger picado another "college try".

[Red_Label]

Originally Posted by BuleriaChk

I dunno if three-finger is worth the effort, since you (or at least me) pretty much have to focus your artistic life on it to develop it thoroughly. (Of course it depends on your personal Flamenco standards as well).

Certainly it is more logical for Flamenco, especially the 6/8, 3/4 palos (12 note runs, hemiola, etc.) If you can get comfortable, especially for improvisation on melodic patterns ... but the number of people that understand those patterns is very, very small outside of Spain (and even in Spain, come to think of it)....

At this point, I'm convinced strength is the major issue (and accuracy, of course), and you have to go SO slow to develop these properly. And then Sabicas had short pudgy (well, ok, muscular and strong) fingers.... so a lot of very boring time to develop, unless there are sympatico gitanos around ..... (well, ok, there is looping nowadays)...

Diego only used two, of course, but then he didn't have anywhere near the technique .....
(but he DID have the art, of course..... but you kind of had to be there.... nevertheless in a serious fiesta, hemiola integrated into falsetas (using techniques other than picado) was one of his strong points, although he just noodled around in formal situations (festivales, "concerts", etc. If there was no one around to appreciate what he was good at, he just didn't do it....)

Good info Chuck. Thanks.

And yeah... I'm getting older and more set in my path, so the odds of me being able to put singular focus on something to get it perfected to the appropriate level are pretty slim. I do very much like traditional flamenco, and have a lot of respect for its practitioners, but my path is not the same as the path of a puro. Still, all knowledge is good and I eagerly embrace it.