Playing scales/single-note runs with a-m-i?

[Fruitloop]

Sorry if this is a really noobish question but does anyone play single-note runs this way? I've been doing it naturally all this time but when I read about picking techniques I mostly see i-m or in some cases i-m-a. People seem to be using a-m-i only for tremolo. Am I doing something wrong? Is this gonna cause me problems somewhere down the road?

I do practice my picking with every possible combination I can think of (I do some exercises once a day) but using a-m-i just feels to most natural and effective. Granted you have to be more independent with the right hand but I see it sort of the same way as alternate picking on the electric. A bit hard at first but soon starts to make a lot of sense.

To clarify I mean I try to keep the sequence strictly a-m-i no matter what the fretting hand is doing.

[Paikon]

I think that -i- is the best way to start playing a scale because is the stronger and most Independent of the three thats why people play im, ia, ima.

Also because -a- is used to play the melody, on specific pieces things could be confusing.

[randalljazz]

you are on a good track:

http://douglasniedt.com/TechTipFastScalesWithAMI.pdf

[BuleriaChk]

ami picado lends itself naturally to Flamenco, as well as the nature of the guitar, which has 3 notes on each string except the second in standard tuning. It is also a powerful technique for "redoubles". ta-ta-ta TUM

I also use all four fingers in some passages - e.g. the "escalera" in Farruca, and also as "redoubles" and Flamenco tremolo. There are some Flamenco monsters using this technique. I asked Sabicas after a concert if he used three finger picado and he grinned and said "only when I want speed and power"... (I didn't see him use it in the concert, which was mostly South American melodic tourist stuff... of course he was really clean, but I didn't see any fast runs.. like on his major records.

OTH, when I saw PdL in concert in LA in the 70's, he ripped through the "Entre dos Aguas" run faster than the record - I know because I had a cassette recorder hidden in my pocket, and the guitar tuning checked out at home.... I was sitting in the front, two rows back, and a completely clear look at his hands, and I could swear he was using two, but it was hard to tell for sure, since he was going faster than the speed of light....

The trick is getting it in compas, which means really understanding the music and the way the guitar integrates with some of the most used riffs, and being able to improvise in compass while accompanying dancers.

The main thing is to practice it in rhythm a LOT..... finesse comes later......

[BuleriaChk]

In the late '60's, before any electronics were available, I tried to time various artists... These are the results I got (it is much easier these days, but I will leave that up to other musical warriors, since I'm mostly retired from the battle and just having fun now.....)

As I remember:

Tempo 3/4 , quarter notes:
For basic Bulerias, from 110 to 120. PdL 126+ (with sextuplets), Serranito 132+ (with sextuplets). Serranito sound more classical, PdL very strong
Sabicas some phenominal runs on Vols 1 and 3, but I am skeptical......

Solea,Alegrias 140 to 160

PDL: (2/4,4/4 quarter notes)
Rumba run in Entre Dos Aguas (170+)
Escalera (170+)

[Alter]

Many flamenco players use the i-m-a technique in order to get more speed. Trying to catch up with Paco ..