{My guitar article sites.google.com/view/new-definition-flamenco-guitar } Amazingly enough, Paco himself seemed also unfulfilled with traditional guitars as you can read from the following interview in 2013 (question n. 5, see this link goo.gl/8DSghE ) Interviewer- Which is your main guitar? A: Paco de Lucia: "...I have many different guitars and some are nice ones actually (I guess he meant his Santos, Barberos etc) but I always have this one with me, it's like living with a woman who you don't really like much. Because I really don't like so much this guitar, but I know how it will respond on stage so, there is a saying "best-known evil than an unknown good" and that applies here. In fact, at home this guitar I feel it is rough and hard to play. When I'm relaxed at my place I can't play this guitar at all... but when adrenaline is there (on the stage) I need a certain tension or pulsation which I have to get used to, and that's why I use this guitar to play on the stage. (in the following video you can also see Paco himself saying again a similar thing bit.ly/2YVx13Q ) Simplicio and his innovative idea (a separate double sound port for the top) It was around 1929 that our Stradivarius "The Stradivari of Spain" greatest Spanish luthier (born in Barcelona bit.ly/2LTS96A ) Mr. Francisco Simplicio 1874-1933. harrisguitarfoundation.org/francisco-simplicio/ He presented to the world nine very peculiar guitars, all of them of a new design with a top like this, andalusianguitars.com/FS1932-11-26.html shaping the way for a fully renovated kind of Spanish guitar never seen before. www.themomi.org/museum/mfa/popular_guitars/1929-30_F_Simplicio.html (Simplicio was also an expert in traditional guitar making and during his life. He produced about 340 instruments ) The universality of Simplicio's design applied to the newest flamenco guitars, as it has been skillfully explored from many angles since 2015 by the creative master luthiers of AG. andalusianguitars.com/aboutAG.html It represents a sublime redefinition of the modern flamenco guitar as an instrument, one that offers many tangible bonuses to anyone who plays a nylon string guitar, no matter which style he plays, as well as for the modern flamenco guitar player. bit.ly/2xLZf59 After about 18 years of intense collaboration with AG as a trusted advisor in their projects, (I still feel honored that Paco himself appointed me for that task) the truth is that AG has created a new concept of playability, envisioning a guitar with unparalleled exactness in tuning and design for the comfort of the player. In AG, the challenge during the research period was to create a guitar which could reduce the difficulties naturally there in every traditional guitar, inconsistencies which are too often taken for granted as "normal things". "Normal"? Yes, for those who don't know and choose the same of the same feel, every time - and typical design of traditional flamenco guitars. In my opinion the centered sound whole concept together with the "traditional guitar design" representative of the Madrid school of guitar making, bit.ly/2NVhnUP has many obsolete features which remained unchanged. Unchanged, certainly not to help the player, but to please the minds of those who belong to the "cult of the tradition," a cult of fellows sentimentally over attached to outdated guitar design, a design that has not been questioned or revisited for more than 100 years. 100+ years without even asking why is it so? Unfortunately, many flamenco players at present are so acclimatized to those archaic features there, that they can't see bit.ly/2LRn5EI how all those inadequacies inherent in the traditional design, may be obstacles to themselves to play efficiently and with ease. To me, the Madrid school of guitar making is totally out-of-date. Such guitars would be ok if one likes a masochistic feel of playing, forced to deal with constant problems and hindrances one after the other. As Paco use to say that some guys like to play just to be "beaten by their guitars". Therefore if anyone enjoys that, I have no problem with it, but this is not my case, how it could be? I consider myself fortunate to have listened to Paco's uncensored advice and many of his esoteric concepts about playability and guitars. He told me many things which he would never say publicly nor tell anyone else about. Admiring him, as I still do, I trusted his points of view and all that helped, directly and indirectly, to bring about this new concept of flamenco guitar making we have at present, with guitars like these bit.ly/2JyGLeW Performing with efficiency is already difficult sometimes, and, if the design of a guitar does not help the player, I can't see what the gain is? To me, performing in such a constricted space is like playing with a pair of handcuffs on, having less and fewer possibilities to succeed over difficult passages of music. bit.ly/2OatqOv And if that was not enough, one also has to deal with those innate handicaps regarding the sound delivery aspect which is very limited by the unidirectional way that traditional guitars can offer, is important to be aware of the fact that such restrictions will be there even in the best traditional flamenco guitars bit.ly/30yfCOQ On the other hand, Simplicio noticed several serious disadvantages in traditional sound hole placement, as he thought that it unavoidably weakens the guitar top in a very crucial area and also causes a huge reduction of the sound emitting surface on the top. (Huber, J.: The Development of the Modern Guitar, Westport, 1994, p.27) While an increased sound emitting surface would also improve the sound emitting platform in the bass range area (Stark, D.: Diplomarbeit - Entwurf und Bau einer Konzertgitarre mit doppelter Decke in Sandwichbauweise, Weimar, 2006, p.6) Influence on the sound: By omitting the centered sound hole and instead positioning it in a doubled manner, both sides of the fingerboard as you can see here, andalusianguitars.com/FS1929-21-23.html leads to an enlarged vibrating surface of the top (sometimes due to the ratio between top length or width and top thickness) and with that, it is possible to: A) Attain the same degree of flexibility of the top as in a traditional guitar, but getting a higher "mass" of the top, which also leads to a better sustain without any loss of "attack" and responsiveness. B) Keep a more flexible top than that of a traditional guitar, while maintaining the same mass of the top which is conducive to an increase in volume and responsiveness without any loss of sustain. C) Apart from those considerable advantages there, the Helmholtz frequency polettipiano.com/Pages/airresengpaul.html can also be significantly lowered, which in turn has an impact in the tonal character of the instrument. Same advantages are also there for: D) The AG Simplicio 1929 model andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-11.html as well as for its asymmetrical derivations: E) A Picasso cutaway design andalusianguitars.com/FS1929-36-14.html F) Double cutaway design andalusianguitars.com/FS1932-7-11.html G) The expanded treble sound hole andalusianguitars.com/FS1932-9-13.htm
Karai Guedes has the best 3 finger picado that I've ever seen, and that includes Paco, and Gerardo and Serranito. He is not the artists that they were/are, but his picado is astonishing.
www.rdiaz.org/new-definition-flamenco-guitar-9.html Chapter 9 What precisely a tradition is: Etymologically, the word comes from the Latin “traditio” which means a passing on, a releasing of something older to something newer, a handing over, a heritage, a continuation. Extradite, from the same root, tradition means bringing back. But “tradition” also indicates a giving up, as in a betrayal (in Spanish there is the word “traición”) Actually tradition and betrayal have the same root. The ancients had a sense as if these are children of the same mother so to say; been able to distinguish one from the other primarily through the principles we project onto each. The "authentic" flamenco was tribal in every sense of the word: very cultish, clannish, and restricted, and those are negative words in our culture, nonetheless it is the music of a secluded and isolated population. Flamenco was by gypsies, for gypsies, and about gypsies - about their own rhythms and aura, but even if old flamenco was clannish and culturally constrained it was at the same time definitely a music bursting with life and juice, back then the Andalusian flamencos themselves were typically uneducated and illiterate, and by modern standards they would have been considered to be urban primarily insofar because they lived inside of edifices rather than in tents or convoys (although some did that too) Gypsies lived and survived in any way they could: they were laborers, farmers, small tradesmen, bakers, horse-traders, fast-talkers and con-men, none went to college, got a degree, became an engineer or a physician or a professor, ran a successful business enterprise, had a successful military or legal or civil service career, became an painter or scriptwriter, a city councilman or a diplomatic or a cop or fireman or a manager...or a trained and skilled technician, or a photographer or designer or an architect, or technologist, or anyone who was trusted with money, or who was the fitting theme of a biography. From the point of view of the mainstream society, these were the throw-aways. Remember that under generalisimo Franco’s repression, the “gitanos” were prohibited from higher education, although they had to go to regular school like everyone else, but they didn’t stay there too long either. Thus living inside such lack of social services, electricity, running water, dental care and basic sanitation, not unlike from being a poor Afro-American man who lived himself the harsh history of the American South. It’s not by chance that flamenco has been called the gypsy blues. Next you have Miles Davis saying that...
Maestro!, yo observo que Paco de Lucía tiene un picado impresionante, recuerdo que en una oportunidad escuché un álbum donde Paco tocaba con cierto Reputado guitarrista brasileño, y aunque ciertamente el guitarrista era muy capaz técnicamente hablando escucho que su picado carece de esa cualidad sonora que esta presente siempre en Paco, es un picado tan limpio y perfecto que sólo se lo había escuchado a guitarristas como Al di Meola o John Petrucci (ambos con técnica de plectro). Observo que muchas veces los picados de guitarristas de técnica tradicional suenan bien pero, y corríjame si me equivoco, carecen de este sonido tan preciso
1. They all hold their guitar on their right leg 2. They all play their guitar with their right hand 3. Their hand is always lower than their elbow 4. Their thumb is always higher than their little finger 5. They all make little "walking" motions with their fingers
Thanks for your answer maltus only thing is that we are after other five things which are actually defects in technique like what you can see here bit.ly/2Ns7onX
Las escalas flamencas resuelven solo una parte del universo musical. Más existe p.e. en el jazz prácticamente otro lenguaje si no imposible, más interesante y evolucionado de tocar.
I cant agree more with you Michael I always see technique as a vehicle as you wisely said. Please check my homage to Paco here th-cam.com/video/tTv7GWozkj4/w-d-xo.html and let me know if technique there is used properly in your opinion or otherwise ok? Of course I agree with you and Thanks for your participation!
@@rubendiazguitar A wonderful tribute to a great flamenco guitarist, thank you Ruben. He was more than that, he was a great musician and great man also. I watched a video of him and his brother playing and after the piece was over a thunderous applause was directed at Paco. He was visibly uncomfortable getting all the praise and the expression on his face seemed to say. "What about my brother? I want you to applaud him as much as me." He was a humble man as great men usually are. I love your playing Ruben. I wish I had your talent.
I saw the part of video when you are playing and to me your right shoulder is kicked up high, how long can you sustain that angle without pain? pardon me for the question but it just doesn't look comfortable to even look at your shoulder angle. I played picado over rumba strumming (the jesse cook stuff) and i did get to the habit of pushing my shoulder up like you but i did this for two gigs and i got a horrible pain and had to stop playing for a while. I'm genuinely interested in knowing how long you can sustain playing picdo with that angle (right shoulder up) without causing pain or injury which probably lead to using pain killers. To me Antonio Rey's part was with flat wrist and bent middle joint but his arm was resting on the guitar without having to left the arm and sustain the right shoulder up in the air. Thank you!
Too many Felipe, but just see about the stats video , how much revenue is given for 7 years of watching time evey month in this channel ... here bit.ly/39gjw3z
Thanks for your comment Mr, Bret: This video is still used today as an exam to test my students cfgstudio.com/cfgs-video4.html regarding technique and proper posture but to inspire you further, I will tell you one big thing all those players do have in common: *It is that not one of them plays with the right posture as Paco did, not even close, they all use an speculated mixture of Paco and Sabicas technique. That is very limiting and poor to be frank as well. That is very sad for them hence Paco himself said here bit.ly/2kFcZeT that his technique is utterly superior to other previous techniques, therefore from our point of view Paco’s technique should be earnestly adopted and implemented by everyone who aspires to get the maximum efficiency while performing. There you go Mr.Bret, and to know more in detail, for that you would need to study with me a bit and of course, you are very welcome anytime to join my Skyoe lessons bit.ly/2lJp1Em Best Regards
paco has half the fingers relaxed when doing picado, with sabicas style, the tension goes through the entire finger. plus the hand has to move more from the elbow/shoulder for changing strings
To understand the answer first you have to know about this 18 points Raziel: th-cam.com/video/nKprmh8ALo0/w-d-xo.htmlm8s 1) Avoiding "fallen posture" 2) Play from the 2th joint 3) Dont rest your thumb on the 6th string 4) Dont play "Staccato" 5) Avoid sided attack 6) Correspondence of both hands (string length) 7) Keep nails short and sand them properly 8) Avoid bending 1st joint. 9) Do not repeat or drag, play always alternating M I 10) Push down and release while playing rest stroke 11) Align your wrist with your forearm and avoid tension 12) Stop pinky's phony stuff and avoid contracting your fingers 13) Understand the difference between practicing and playing 14) Learn HOW to practice a clear target, stop uselessly wandering 15) Video Record your practice and homework's 16) Get supervised, dont waste your valuable time 17) Always practice with the metronome 18) Practice with a blindfold on and own your fretboard
Of course you can learn and develop at any level you want, you just need the proper training, regarding guitars take a look to this th-cam.com/users/shortsc5GI3o0Y5kk
{My guitar article sites.google.com/view/new-definition-flamenco-guitar }
Amazingly enough, Paco himself seemed also unfulfilled with traditional guitars as you can read from the following interview in 2013 (question n. 5, see this link goo.gl/8DSghE )
Interviewer- Which is your main guitar?
A: Paco de Lucia: "...I have many different guitars and some are nice ones actually (I guess he meant his Santos, Barberos etc) but I always have this one with me, it's like living with a woman who you don't really like much. Because I really don't like so much this guitar, but I know how it will respond on stage so, there is a saying "best-known evil than an unknown good" and that applies here. In fact, at home this guitar I feel it is rough and hard to play. When I'm relaxed at my place I can't play this guitar at all... but when adrenaline is there (on the stage) I need a certain tension or pulsation which I have to get used to, and that's why I use this guitar to play on the stage. (in the following video you can also see Paco himself saying again a similar thing bit.ly/2YVx13Q )
Simplicio and his innovative idea (a separate double sound port for the top)
It was around 1929 that our Stradivarius "The Stradivari of Spain" greatest Spanish luthier (born in Barcelona bit.ly/2LTS96A ) Mr. Francisco Simplicio 1874-1933. harrisguitarfoundation.org/francisco-simplicio/ He presented to the world nine very peculiar guitars, all of them of a new design with a top like this, andalusianguitars.com/FS1932-11-26.html shaping the way for a fully renovated kind of Spanish guitar never seen before. www.themomi.org/museum/mfa/popular_guitars/1929-30_F_Simplicio.html (Simplicio was also an expert in traditional guitar making and during his life. He produced about 340 instruments )
The universality of Simplicio's design applied to the newest flamenco guitars, as it has been skillfully explored from many angles since 2015 by the creative master luthiers of AG. andalusianguitars.com/aboutAG.html It represents a sublime redefinition of the modern flamenco guitar as an instrument, one that offers many tangible bonuses to anyone who plays a nylon string guitar, no matter which style he plays, as well as for the modern flamenco guitar player. bit.ly/2xLZf59 After about 18 years of intense collaboration with AG as a trusted advisor in their projects, (I still feel honored that Paco himself appointed me for that task) the truth is that AG has created a new concept of playability, envisioning a guitar with unparalleled exactness in tuning and design for the comfort of the player.
In AG, the challenge during the research period was to create a guitar which could reduce the difficulties naturally there in every traditional guitar, inconsistencies which are too often taken for granted as "normal things". "Normal"? Yes, for those who don't know and choose the same of the same feel, every time - and typical design of traditional flamenco guitars.
In my opinion the centered sound whole concept together with the "traditional guitar design" representative of the Madrid school of guitar making, bit.ly/2NVhnUP has many obsolete features which remained unchanged. Unchanged, certainly not to help the player, but to please the minds of those who belong to the "cult of the tradition," a cult of fellows sentimentally over attached to outdated guitar design, a design that has not been questioned or revisited for more than 100 years. 100+ years without even asking why is it so? Unfortunately, many flamenco players at present are so acclimatized to those archaic features there, that they can't see bit.ly/2LRn5EI how all those inadequacies inherent in the traditional design, may be obstacles to themselves to play efficiently and with ease.
To me, the Madrid school of guitar making is totally out-of-date. Such guitars would be ok if one likes a masochistic feel of playing, forced to deal with constant problems and hindrances one after the other. As Paco use to say that some guys like to play just to be "beaten by their guitars". Therefore if anyone enjoys that, I have no problem with it, but this is not my case, how it could be? I consider myself fortunate to have listened to Paco's uncensored advice and many of his esoteric concepts about playability and guitars. He told me many things which he would never say publicly nor tell anyone else about. Admiring him, as I still do, I trusted his points of view and all that helped, directly and indirectly, to bring about this new concept of flamenco guitar making we have at present, with guitars like these bit.ly/2JyGLeW
Performing with efficiency is already difficult sometimes, and, if the design of a guitar does not help the player, I can't see what the gain is?
To me, performing in such a constricted space is like playing with a pair of handcuffs on, having less and fewer possibilities to succeed over difficult passages of music. bit.ly/2OatqOv And if that was not enough, one also has to deal with those innate handicaps regarding the sound delivery aspect which is very limited by the unidirectional way that traditional guitars can offer, is important to be aware of the fact that such restrictions will be there even in the best traditional flamenco guitars bit.ly/30yfCOQ
On the other hand, Simplicio noticed several serious disadvantages in traditional sound hole placement, as he thought that it unavoidably weakens the guitar top in a very crucial area and also causes a huge reduction of the sound emitting surface on the top. (Huber, J.: The Development of the Modern Guitar, Westport, 1994, p.27) While an increased sound emitting surface would also improve the sound emitting platform in the bass range area (Stark, D.: Diplomarbeit - Entwurf und Bau einer Konzertgitarre mit doppelter Decke in Sandwichbauweise, Weimar, 2006, p.6)
Influence on the sound:
By omitting the centered sound hole and instead positioning it in a doubled manner, both sides of the fingerboard as you can see here, andalusianguitars.com/FS1929-21-23.html leads to an enlarged vibrating surface of the top (sometimes due to the ratio between top length or width and top thickness) and with that, it is possible to:
A) Attain the same degree of flexibility of the top as in a traditional guitar, but getting a higher "mass" of the top, which also leads to a better sustain without any loss of "attack" and responsiveness.
B) Keep a more flexible top than that of a traditional guitar, while maintaining the same mass of the top which is conducive to an increase in volume and responsiveness without any loss of sustain.
C) Apart from those considerable advantages there, the Helmholtz frequency polettipiano.com/Pages/airresengpaul.html can also be significantly lowered, which in turn has an impact in the tonal character of the instrument.
Same advantages are also there for:
D) The AG Simplicio 1929 model andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-11.html
as well as for its asymmetrical derivations:
E) A Picasso cutaway design andalusianguitars.com/FS1929-36-14.html
F) Double cutaway design andalusianguitars.com/FS1932-7-11.html
G) The expanded treble sound hole andalusianguitars.com/FS1932-9-13.htm
Karai Guedes has the best 3 finger picado that I've ever seen, and that includes Paco, and Gerardo and Serranito. He is not the artists that they were/are, but his picado is astonishing.
Hola, gracias por la información,cual seria la segunda parte de este video donde analiza los picados de antonio rey,vicente,quilino,sabicas gracias
What a man 😇
Will be here after 5 years
www.rdiaz.org/new-definition-flamenco-guitar-9.html
Chapter 9
What precisely a tradition is: Etymologically, the word comes from the Latin “traditio” which means a passing on, a releasing of something older to something newer, a handing over, a heritage, a continuation. Extradite, from the same root, tradition means bringing back. But “tradition” also indicates a giving up, as in a betrayal (in Spanish there is the word “traición”) Actually tradition and betrayal have the same root. The ancients had a sense as if these are children of the same mother so to say; been able to distinguish one from the other primarily through the principles we project onto each.
The "authentic" flamenco was tribal in every sense of the word: very cultish, clannish, and restricted, and those are negative words in our culture, nonetheless it is the music of a secluded and isolated population. Flamenco was by gypsies, for gypsies, and about gypsies - about their own rhythms and aura, but even if old flamenco was clannish and culturally constrained it was at the same time definitely a music bursting with life and juice, back then the Andalusian flamencos themselves were typically uneducated and illiterate, and by modern standards they would have been considered to be urban primarily insofar because they lived inside of edifices rather than in tents or convoys (although some did that too) Gypsies lived and survived in any way they could: they were laborers, farmers, small tradesmen, bakers, horse-traders, fast-talkers and con-men, none went to college, got a degree, became an engineer or a physician or a professor, ran a successful business enterprise, had a successful military or legal or civil service career, became an painter or scriptwriter, a city councilman or a diplomatic or a cop or fireman or a manager...or a trained and skilled technician, or a photographer or designer or an architect, or technologist, or anyone who was trusted with money, or who was the fitting theme of a biography.
From the point of view of the mainstream society, these were the throw-aways. Remember that under generalisimo Franco’s repression, the “gitanos” were prohibited from higher education, although they had to go to regular school like everyone else, but they didn’t stay there too long either. Thus living inside such lack of social services, electricity, running water, dental care and basic sanitation, not unlike from being a poor Afro-American man who lived himself the harsh history of the American South. It’s not by chance that flamenco has been called the gypsy blues. Next you have Miles Davis saying that...
Maestro!, yo observo que Paco de Lucía tiene un picado impresionante, recuerdo que en una oportunidad escuché un álbum donde Paco tocaba con cierto Reputado guitarrista brasileño, y aunque ciertamente el guitarrista era muy capaz técnicamente hablando escucho que su picado carece de esa cualidad sonora que esta presente siempre en Paco, es un picado tan limpio y perfecto que sólo se lo había escuchado a guitarristas como Al di Meola o John Petrucci (ambos con técnica de plectro).
Observo que muchas veces los picados de guitarristas de técnica tradicional suenan bien pero, y corríjame si me equivoco, carecen de este sonido tan preciso
Claro que si Alejo, eso que has dicho es la verdad, si no hay mas que oirlo y verlo aqui Alejo bit.ly/2R2alQD
@@rubendiazguitar !verdaderamente impresionante!, !Paco era tremendo!. es posible alcanzar esa velocidad con una metodología adecuada?
El gran paco un fuera de serie en todo sentido/transmitía mucho aun con su virtuosismo inigualable
Outstanding job Ruben
Many thats friend!
1. They all hold their guitar on their right leg
2. They all play their guitar with their right hand
3. Their hand is always lower than their elbow
4. Their thumb is always higher than their little finger
5. They all make little "walking" motions with their fingers
Thanks for your answer maltus only thing is that we are after other five things which are actually defects in technique like what you can see here bit.ly/2Ns7onX
Me alegro mucho que todos quieran ser paco, asi jamas lo olvidaremos, pero recominedo a la gente que busque su propio Estilo
Las escalas flamencas resuelven solo una parte del universo musical. Más existe p.e. en el jazz prácticamente otro lenguaje si no imposible, más interesante y evolucionado de tocar.
Si Jose por eso yo exploro ahi th-cam.com/video/uPGvC41CbaA/w-d-xo.html
I love flamenco guitar as much as anyone but when the sole aim of a player is speed the result is less musical.
I cant agree more with you Michael I always see technique as a vehicle as you wisely said. Please check my homage to Paco here th-cam.com/video/tTv7GWozkj4/w-d-xo.html and let me know if technique there is used properly in your opinion or otherwise ok?
Of course I agree with you and
Thanks for your participation!
@@rubendiazguitar A wonderful tribute to a great flamenco guitarist, thank you Ruben. He was more than that, he was a great musician and great man also. I watched a video of him and his brother playing and after the piece was over a thunderous applause was directed at Paco. He was visibly uncomfortable getting all the praise and the expression on his face seemed to say. "What about my brother? I want you to applaud him as much as me." He was a humble man as great men usually are.
I love your playing Ruben. I wish I had your talent.
I saw the part of video when you are playing and to me your right shoulder is kicked up high, how long can you sustain that angle without pain? pardon me for the question but it just doesn't look comfortable to even look at your shoulder angle. I played picado over rumba strumming (the jesse cook stuff) and i did get to the habit of pushing my shoulder up like you but i did this for two gigs and i got a horrible pain and had to stop playing for a while. I'm genuinely interested in knowing how long you can sustain playing picdo with that angle (right shoulder up) without causing pain or injury which probably lead to using pain killers. To me Antonio Rey's part was with flat wrist and bent middle joint but his arm was resting on the guitar without having to left the arm and sustain the right shoulder up in the air. Thank you!
If you lift your arm not with your shoulder but with the back muscle the tension issue will be solved
@@rubendiazguitar Wouldn't that cause a problem in the back?
9:27 por que cejilla en el primer traste si no esta acompa~nando cante?
Other compositions:
1 th-cam.com/video/uPGvC41CbaA/w-d-xo.html "En Ti Confío" Bulerias
2 th-cam.com/video/tTv7GWozkj4/w-d-xo.html "3 Gitanos" Buleria
3 th-cam.com/video/7w1szT2JRhE/w-d-xo.html "Buleria Street"
4 th-cam.com/video/UrMF_XDhiLw/w-d-xo.html "Tú eres la estrella "
5 th-cam.com/video/5Q8StYDnUGo/w-d-xo.html "Por Derecho" Buleria Calo
how many videos do you have on this subject?
Too many Felipe, but just see about the stats video , how much revenue is given for 7 years of watching time evey month in this channel ... here bit.ly/39gjw3z
I love this video for many reasons...haha!
I am happy it helps some players Naaz, thats why I do all what I do th-cam.com/video/mjuUwHCihwI/w-d-xo.html
They all play the guitar out of tune,low action and dirty sound.
You hold your guitar lower than all of those guys .
Here you can see Rafael th-cam.com/video/crPODXa0lVs/w-d-xo.html
after all that you don't tell us what the 5 things they have in common are!!
Thanks for your comment Mr, Bret: This video is still used today as an exam to test my students cfgstudio.com/cfgs-video4.html regarding technique and proper posture but to inspire you further, I will tell you one big thing all those players do have in common:
*It is that not one of them plays with the right posture as Paco did, not even close, they all use an speculated mixture of Paco and Sabicas technique. That is very limiting and poor to be frank as well. That is very sad for them hence Paco himself said here bit.ly/2kFcZeT that his technique is utterly superior to other previous techniques, therefore from our point of view Paco’s technique should be earnestly adopted and implemented by everyone who aspires to get the maximum efficiency while performing.
There you go Mr.Bret, and to know more in detail, for that you would need to study with me a bit and of course, you are very welcome anytime to join my Skyoe lessons bit.ly/2lJp1Em
Best Regards
paco has half the fingers relaxed when doing picado, with sabicas style, the tension goes through the entire finger. plus the hand has to move more from the elbow/shoulder for changing strings
what will be the answer sir ? plz tell sir. I am watching this because seems like i have injured myself 😳
Which answer do you mean Harmony 99 ?
what is the common thing between all those players sir ??
To understand the answer first you have to know about this 18 points Raziel: th-cam.com/video/nKprmh8ALo0/w-d-xo.htmlm8s
1) Avoiding "fallen posture"
2) Play from the 2th joint
3) Dont rest your thumb on the 6th string
4) Dont play "Staccato"
5) Avoid sided attack
6) Correspondence of both hands (string length)
7) Keep nails short and sand them properly
8) Avoid bending 1st joint.
9) Do not repeat or drag, play always alternating M I
10) Push down and release while playing rest stroke
11) Align your wrist with your forearm and avoid tension
12) Stop pinky's phony stuff and avoid contracting your fingers
13) Understand the difference between practicing and playing
14) Learn HOW to practice a clear target, stop uselessly wandering
15) Video Record your practice and homework's
16) Get supervised, dont waste your valuable time
17) Always practice with the metronome
18) Practice with a blindfold on and own your fretboard
Ruben Diaz Flamenco Guitar thank verrry much sir ur the best flamenco teacher
on the 4:44 minute, the man is playing tremolo and not piacado
It's three finger picado
🎵👍
I’ve been trying learn tremolo and picado. These videos makes me want to throw my cordoba fusion 12 in the trash. It’s so disheartening.
Of course you can learn and develop at any level you want, you just need the proper training, regarding guitars take a look to this th-cam.com/users/shortsc5GI3o0Y5kk
Falto este ruben jejeje th-cam.com/video/Vp3M5A16PSA/w-d-xo.html