all my current skills of picado came from here, i tried theses steps for more than 6 months and now i can confirm theses are solid counseling thank you
Picado Secrets of Paco de Lucia bit.ly/2W6hRsi 1) Avoid "fallen posture" 2) Play mainly from the 2th joint 3) Don’t rest your thumb on the 6th string 4) Don’t practice playing "Staccato" 5) Avoid sided attack if possible and put there flesh as well 6) Keep correspondence ok for both hands (string length) 7) Keep nails short and sand them properly 8) Avoid bending 1st joint (any finger) 9) Do not repeat finger or drag, play always alternating M I/rest stroke 10) Push down slightly and release while playing rest stroke 11) Align your wrist with your forearm if possible and avoid tension 12) Stop pinky's phony stuff moving around or stiff and avoid contracting fingers 13) Eliminate doubts about the difference between practicing and playing 14) Learn HOW to practice with equilibrium ideal under supervision 15) Video Record your practice and homework's 16) Get supervised, dont waste your valuable time 17) Always practice with the metronome. Using a proper mute sponge is optional. 18) Practice with a blindfold and get command over your fret board bit.ly/2W6hRsi
That inlay is absolutely beautiful. It complements the combination of woods & tones very nicely. I love the blindfold advice. Good note to finish on (pardon the pun). This is how I first learnt the fretboard, playing in the dark - no lights. I felt it was a good way not only to know the layout, but also to play with feeling. A very valuable video Ruben.
Thanks dear S. Your inlay is also amazing andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-1.html has grapes there representing the fruit of Simplicios ideas (imo) I think this video has everything that people will need on scale playing picado. Regarding the blindfold just see the consequences of not doing it here www.rdiaz.org/rdmagazine86-12jun16.html#magazinerec1 (my video its here called Staring at the fretboard Vs Owning it th-cam.com/video/qcsLaSaxNs8/w-d-xo.html) Best Regards Ruben
Me has ahorrado mucho sufrimiento. Ruben, gracias por compartir tus experiencias y conocimiento con nosotros. Que el legado de Paco llegue a nuestras manos tan directamente, no tiene precio...esto es material. V.I.P. Un abrazo desde Puerto Rico. Que viva Paco SIEMPRE!
Ruben, Thank for these helpful tips. Been hitting certain roadblocks when coming to be more accurate and faster. After correcting my posture, I can already tell this difference. Its actually easier to play. Thank you again for passing on such a treasure of information.
Thanks Hua for your comment: I am happy this video help you to improve, and remember that inspiration comes from hard work goo.gl/TVhSwm I think the following video may also help you greatly th-cam.com/video/iQghhyf898s/w-d-xo.htmlm58s Regards
Ruben muchas gracias, despues de 10 años de tocar guitrarra hasta ahora me doy cuenta de mis errores, y ahora veo porque nunca pude superar ciertas barreras, pero estoy seguro que con la ayuda de tus videos lo lograre. Saludos desde Mexico!
Fantastic! Fantastic! Thank you so much! I'm 2 lessons into my Flamenco training & my teacher has not told me about all these things nor corrected me. Hopefully he will later. But I have a BIG head start now!
This things have to be explained from day one, otherwise it will cause trouble, see here Repeat zero mistakes (that´s my method) th-cam.com/video/1OrreMx6ek8/w-d-xo.html Regards
apenas entiendo esto ! por favor pongan atención a este video para que no tengan que tomar cantidades industriales de alcohol para que tengan efecto ayahuasca
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...
Se debe estudiar bien, y tu puedes adquirir lo que necesitas tecnicamente (con voluntad y currandotelo) y eleminar lo que no necesitas (vicios y posturas inconvenientes) el siguiente video tambien te servira mucho para analizar todo esto th-cam.com/video/iQghhyf898s/w-d-xo.htmlm58s Saludos
Tengo tiempo libre limitado pero asi lo haré! Voy a intentar analizar todo esto. Lo ideal sería contar con tu supervisión, a ver si podemos hacer algo! Muchas gracias de nuevo, un saludo
Master , I want to apologize for my Ignorant Comment that i made in one of your videos where i said its sped up, but now i am not blind and ignorant anymore, been practising with your Technique instruction , and have to say , it was hard for me to digest the fact that ive been practising wrong for 8 Years consistently it hurt me when i watched the trigger warning video, but then i decided to improve and i decided to be humble and desperate to learn , and here Master you are doing a great job of Providing free knowledge , and ive been practising picado technique from this video since 1 year , and i have to say my tone is super improved with consistency , my attack feels hammered like piano and i can feel weight lightly while picado playing its loud clear and ringing . sometimes i have pain ( but after a long period of time )that i have while practising is in right shoulder blade, and scapula, would you please enlighten us , how to avoid that pain, while practising . Please, Ruben Sir. thank You SOOOOOOO MUCH.
Dear friend Rebel Droid, you did well to question that point as today many people do fake stuff so you are right in that sense and I took it as some kind of "special compliment" somehow or other, so no hard felling's at all about that my friend. You can always improve things, like not having to constantly look at the fretboard bit.ly/3x2FQcW etc any time you like I show you what I teach on Skype as I can tell your intention was that you really love to play guitar and that in itself makes you and me have that love both for music in common. The way to not waste time its explained here bit.ly/3isTUHA and of course I am always willing to help you anytime! I really appreciate all your words as you are exactly the kind of people who love to learn guitar and enjoy actually the process of learning guitar. Never mind I get $9 a month for the +2,000 videos public I have here {as I have other 1,000 private for my students) that without mentioning the 7 years every month of watching time, as you can see here in my thanks video! bit.ly/3db5dP0 But I do it all because I also love music like yourself so you know as I said, anytime my email is: info@diaz.org and we can personally talk about you in skype anytime! Thanks for your participation! Ruben
@Ruben Diaz Flamenco Guitar Thank you Soo Much Master Ruben, You are the only True Zen Master of Flamenco , we all appreciate your efforts of bringing the TRUE knowledge , TRUTH is light when we posses it , everything that was dark becomes enlightened!! 💗😇❤️
Gracias a ti por tu mensaje Nico! Yo entiendo lo que preguntas pero en el siguiente video th-cam.com/video/bz-YBHb8bYc/w-d-xo.html en la sección de comentarios podrías preguntarle eso mismo a Mr. Fredrik Olsen (quien dice que el mejor es Juan Serrano y no Paco de Lucia) y también pregúntaselo a Mr. Matthew Sutton que dice lo mismo esta vez con Manolo Sanlucar… Como podrás ver hay mucha gente así en los circulos de flamenco Kitsch y por eso ese video tiene como titulo: "I prefer traditional flamenco" Translation: I have no idea about harmony and I fear all new ideas. Saludos!
Saludos desde Barcelona master Sr. Diaz. Puede explicarme a que se debe el agujero en el lateral superior de algunas de sus guitaras? Gracias por sus master clases
{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
I can say, that i can play picado now, your videos helped me, i have more speed, power, contrast, but i can't help one thing, my middle finger nail gets cracked many times, what can i do ? It's not long
How can I learn to lift my shoulder from the back muscle? I had to come up with a posture so my hands are relaxed on the guitar and my shoulder doesn't do any work. I play with a support on my right leg. I can't have my right arm straight, can't hold it like that, my shoulder doesn't allow it. Any tips?
Yes I would need to see you in a video or on Skype to really advise about posture Adam, I also use this posture th-cam.com/video/L7GLN9WDup8/w-d-xo.html
Hey Ruben. Your suggestions and theories are helpful but why are your picados not clean when you past the third string? They're kinda choppy. If you pay attention to Jose Antonio Rodriguez or Antonio Rey they play their whole scale clean with the same clarity.
Do you mean this guy here th-cam.com/video/7CxetnPeLqs/w-d-xo.html talking on Paco's opinion about me...? (he was my student for years) Well, arminjan5555 there are many reasons why I have a defective picado, one it may be because of what you can see from the following link goo.gl/TVhSwm that in itself may have make me become cynical and careless about picado (poor me) cause that was certanly at the risk of having such great players like yourself commenting negativelly about it and I wrongly hoped that they never would eventually notice that... just as it happened in this case. Other defects in my picado may be atribuited to the fact that I really need to wake up and take some lessons from you soon, so that I can finally learn the after 40 years of playing the right right way to play picado. I mean, cause just having this much of an audience th-cam.com/video/vfZMCoc7kWg/w-d-xo.html is not enaugh... to satisfy the high standards of apreciation of masters like arminjan5555 or the other two great heroes you mentioned before, and now I am feeling really sad confronting my reality, namely the fact that I really need to study with you because only someone like you can actually enlighten me properly on picado, and of course anyone would agree on that. So would you accept me as your student and correct my bad picado...?
Ruben Diaz Flamenco Guitar I feel really sorry for you because you obviously have some insecurities due to the fact that I said nothing negative. What I said was a genuine question and I didn't mean to come off as rude. I myself am not even close to any of the players I named. And I also mentioned that your tips are helpful but I'm just so sorry that you take a comment so offensive that you come off so sarcastic because my intention was to really know why your picados get choppy and unclean from the third string up.
I am not offended, I am asking for your help. Thanks to heaven this picado th-cam.com/video/Fn-CvCFTNW0/w-d-xo.html was not on the 3th string up... otherwise it would get choppy as you said, because I know picado but only in 2 strings 1st and 2th and thanks for letting me know that because I did not knew it before you said it. I do appreciate your wise judgment and positive advise btw here is a video for you th-cam.com/video/yHU3mq2oECA/w-d-xo.html and thanks for mentioning that my tips (which are actually Paco´s) are helpful, if you had not mentioned that in your comment, I dont know if I could sleep tonight... It is thanks to you that I am realizing how much I misunderstood all what Paco taught me about picado www.rdiaz.org/rdfoto88.html
arminjan5555 his picado is not choppy, however I think Ruben should get a higher quality microphone to improve the sound quality, because you can hear a lot of echo off the walls, and the sound has a lot of treble, maybe making the bass notes not coming out as clear. I’m speaking more so of the beginning of videos.
Ruben EXCELENTE Video!!! Una pregunta: Esta tecnica de picado se usa para escalas y tambien arpegios (ciertas notas de la escala) ? Normalmente la mano derecha no esta recta al tocar acordes arpegiados , tambien se debe tener la mano recta en acordes arpegiados?
Hola Manny mira estas reglas de postura no se aplican al arpeggio solo al picado (de lo contrario lo habria mencionado) el arpegio requiere otro tipo de reglas y no tiene nada que ver con lo del picado. Saludos
Gracias Rubén! Este vídeo vídeo responde a mi pregunta añeja de por que se escuchaban tantas notas al ver a Paco tocar su picado y no mover tanto la Mano izquierda... la respuesta: 3 toques por nota !!! EXCELENTE!!!
Ruben un tema trae otro... si recomiendas tocar “blind folded” entonces por que Paco tenía un punto de referencia en el traste 7 de su guitarra? Jajaja
@@mannyr1709 Mira aqui hay varias fotos de la guitarra de Paco www.flamenco-guitar.net/museum/hermanos-conde/hermanos-conde-1980-guitar-1/ te puedo asegurar que el que te dijo lo del traste 7 te estaba mintiendo.
hey, thank you so much. I am buying my first Flamenco Guitar in a couple of months. I love your really informative style of teaching. I teach guitar but never played Flamenco. Mi papa era Mariachi, y me eneno desde 11 anos a tocar. Later on I learned Western style music theory too. But I love how flamenco uses old styles of teaching theory. And al the techniques look so much fun. Do you offer classes?
Yes Biviano if you want information about my Skype lessons please send me an email to: info@rdiaz.org and to get a guitar check the next video "5 awful inconveniences of everyday guitars" th-cam.com/video/4CToW1GsXZ8/w-d-xo.htmlm48s Regards
I understand that you in the beginning said, this is if you wanna learn like Paco did! But I would like add one important thing: all practice techniques, postures, finger positions that obviously worked for Paco so perfectly may not work for other guitarists! His comfortable position may not be so comfortable for others, every single human being is different, every hand and fingers are different (in shape, girth, width, bone structure, tendons...). My advice is, go check how many different guitarist play and practice, but in the end work on your OWN style, feeling, technique, sound! Only that will make you great artist! And of course, other super important thing, don't play only 1 genre of music and 1 instrument! Have the main one or two, but you will be more complete musician and player if you experience many styles and many instruments!!! Master one (two...) but learn many (at least simple basic stuff)!!!
Thanks for your comment Kana, I agree that one should play other styles too, but Paco´s technique is Paco´s technique and for many people it works (like for me) only for them I made this video. Regarding the other thing you mentioned I elaborated on that on the following video: "Why follow Paco de Lucia ? everyone has his own technique" Translation: I secretly follow no-one... th-cam.com/video/gtgdvyN2kd0/w-d-xo.html Regards
I know, but I wanted to point this out to random people! Because many beginners tend to blindly stick to "rules". I think that's wrong way, music is firstly feeling and creation, then rules, math and science!!! All you said in the video is on spot! Lately I am learning flamenco (played rock, metal, blues and stuff like that my whole life, with pick. Right now I am working on my right hand as it's 15+ years behind left :O)... so every single advice is like treasure, so thanks for sharing your knowledge!!! :)))
See here goo.gl/TVhSwm I dont record this videos for random people Kana. And because Paco´s technique is THE most eficient people follows th-cam.com/video/3Jb5a75KTqg/w-d-xo.htmlm53s and that is science Regards
I will check it out and extract out knowledge to implement it in my style :))) Thanks for the effort. ps - forgot to mention one example of music freedom! In flamenco people tend to hold right hand at the edge of the hole (closer to bridge - for a more plucky/lighter sound) while I prefer to play it more near the neck (even 2cm off the neck) for more deeper and fuller sound and I really don't care if it's not in the spirit of flamenco style, because I like the sound more there (this doesn't mean I don't play near bridge when I feel it fits better). Just wanted to share this thing to show that there is just no right or wrong in music and every single person's tastes are different. :)) I like to say: no boundaries when you create music
Please let me clear this points Kana: 1) The vague idea that every technique is valid without an specific prove of musical achievement using that technique is just like saying that the answer to 2+2 can actually be anything you like... so that for us followers of Paco de Lucia is totally unacceptable. 2) In my experience people pushing that kind of nebulous philosophies are “coincidentally enough ” those who do not have a great technique themselves. And my teacher did not agree with them. 3) If I want to study and play the Violin like Sumina Studer th-cam.com/video/0jXXWBt5URw/w-d-xo.html I need to know Paganini, and not just “any technique” btw yes, that technique is still valid today and the previous video proves it very well, although at the end of the day people still will like to believe just anything… with or without any prove of that been truth, that it does not bother me , as far as for my point that is here th-cam.com/video/nXXy0ZTC0UE/w-d-xo.html 4) If you like not to follow Paco de Lucia I am ok with that. But first please prove here how much you play nylon string guitar, which sound you have etc by posting here along with your next answer to this comment a video of you playing , so that we can at least give proper validity to your words according to your real level of achievement and, that just by talking and writing over and over words cannot be accomplished, so please first post something you play with nylon strings using your “own” technique and then we can continue discussing this topic further. Regards Ruben
Hi Ruben, thanks for all the hard work that you do. Please keep up the great work. I wanted to know what types of guitars are these that you play? Who makes them? I always see you playing different ones, but they all seem to have a similar format of design. Thanks!
Yes Ray this kind of guitar is here andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-13.html Here is some important data about Simplicio 21 features on AG Simplicio th-cam.com/video/LaZ4mcFKtVQ/w-d-xo.htmlm Three-dimensional sound th-cam.com/video/yp15_iiIK5U/w-d-xo.html andalusianguitars.com/characteristicsAG.html Guitar made around 1929 by Francisco Simplicio www.themomi.org/museum/mfa/popular_guitars/1929-30_F_Simplicio.html Simplicio noticed a disadvantage of the traditional sound hole position in the weakening of the guitar top in a crucial area and also in a reduction of the sound emitting surface of the top (Huber, J.: The Development of the Modern Guitar, Westport, 1994, p.27). The increased sound emitting surface should also improve the sound emitting in the bass range (Stark, D.: Diplomarbeit - Entwurf und Bau einer Konzertgitarre mit doppelter Decke in Sandwichbauweise, Weimar, 2006, p.6) Impact on the sound: Omitting the sound hole or positioning it on both sides of the fingerboard leads to an enlarged vibrating surface of the top. Cue to the ratio between top length or width and top thickness, it is possible to: - attain the same degree of flexibility of the top as in a traditional guitar, but obtaining a higher mass of the top (this leads to a better sustain without the loss of attack and responsiveness) - attain a more flexible top than on a traditional guitar, but maintaining the same mass of the top (this leads to increased loudness and responsiveness without the loss of sustain). In addition, the Helmholtz frequency polettipiano.com/Pages/airresengpaul.html can be lowered significantly, which in turn has an impact on the tonal character of the instrument. See on the next link from an auction a Simplicio sold for $225,000 usd www.liveauctioneers.com/item/24672499_1927-francisco-simplicio-presentation-classical Simplicio was a Genius and is considered the Stradivari of guitars.
See how to sand your nails here bit.ly/2TCCiwi Then those playing in maple fretboards search the ideal string tension for your guitar. We can use high tension and feel as if it is low tension. As you may know I prefer maple fretboards with the strings that I help to design aquilacorde.com/negozio/corde-musica-moderna/chitarra-flamenca/sugar-extra/ try those too. And for the new please remember that it is not that I lacked experience playing on Ebony fretboards see here bit.ly/2ZEkSU9 (did that for 30 years) but in any case half decade ago I moved to Maple fretboards and I now could not come back to Ebony for playability it is far easier to play picado on Maple
th-cam.com/video/uIV51ouiuxw/w-d-xo.html he never did that, if you slow this down to 0,25, you'll see he always alternates. Dragging doesn't help anything because you have to restart the picado mechanism every time after you drag
Ruben. El problema que mas tengo es el no repetir dedos, especialmente con escalas que no tienen las mismas cantidad de notas por cuerda. Ej: escala mayor. Que recomiendas para no repetir dedos?
Ruben como estas? He visto algunos videos tuyos y es admirable el tiempo y la dedicacion que has empleado en buscar las tecnicas mas propis y eficientes. Soy Colombiano guitarrista electrico y clasico y siempre me ha interesado mucho el usar las tecnicas mas apropiadas para alcanzar el mejor nivel posible. Abstraigo de tu video que hay dos escuelas para utilizar el picado, intente utilizar la tuya que es influenciada por Paco, pero tengo un para de dudas. Intente utilizar la tecnica de picado de paco pero veo que conviene mas para personas con las manos o mas especificamente los dedos cortos, lo digo porque intente y sentia mis dedos y manos debiles e incomodos en esta posicion. La otra duda que tengo es: No demoras mucho tiempo en trasladar el brazo para realizar un picado y devolerte a acompañar, hacer algun ritmo o utilizar el pulgar? ... Gracias y Saludos desde Colombia
Si Sebastian yo no tengo una tecnica la unica que enseño es la de Paco. Esta se puede tocar sea con dedos largos o cortos eso no tiene nada que ver, y lo del acompañamiento tampoco es un problema mira aqui th-cam.com/video/tTv7GWozkj4/w-d-xo.htmlm48s Saludos!
Can you please explain in more detail manner why playing dragging isn't good as alternating all the time?. Dragging can make you sensible faster and requires less energy (movements) to obtain the same results (ex playing 9 notes, 3 notes per string, dragging you need 7 movements whereas alternating you will need 9)
Thanks for your question Dany, First of all what I am explaining in this video here are Paco de Lucia’s techniques and his principles (not my personal ideas) so I rather suggest as a practical experiment that you please post a video here along with your next answer just post a video showing by playing how well you can actually do by dragging and, on the other hand here is one of me playing without dragging th-cam.com/video/EPC-Lt8hkzE/w-d-xo.html then everyone will be able to see and listen what is better by facts (not by words written in a comment) In Paco’s technique we do not drag, in case you want to conquer over this defect of dragging here is a video to help with that th-cam.com/video/NLn9nstXqxs/w-d-xo.html Regards Pd. Frank Gambale actually created a whole system by dragging called "sweep picking" that is interesting but that is another thing.
Ruben Diaz Flamenco Guitar Muchas gracias, es una preciosidad la guitarra, yo tengo una Alhambra, pero tendré que ahorrar mucho para comprar esa joya jejeje
Si, por supuesto que el instrumento ayuda mucho, ademas puedes usar dos micrófonos también, como hice yo aquí th-cam.com/video/crPODXa0lVs/w-d-xo.html Saludos
Cette conception de la guitare andalusianguitars.com/characteristicsAG.html est de 1929 et il a été créé par le plus grand luthier d’Espagne Francisco Simplicio www.themomi.org/Museum/MFA/popular_guitars/1929-30_F_Simplicio.html Sur la vidéo suivante vous pouvez voir plus de détails sur th-cam.com/video/LaZ4mcFKtVQ/w-d-xo.htmlm Sinceres salutations Ruben
Thanks for your question Ariel In the head line of this interview goo.gl/D6F9Ab you can read what Diego del Morao Diego confessed about himself: "I'm a limited guitarist, very limited" That is the naked truth Mr. Estulin And when asked on last question: are you very studious? and about how many hours do you practice? Diego answered: "... I don’t like to admit it, but no, I’m not very disciplined, I practice just enough to get by, and no more. I ought to do more, but I’ve never had the discipline..." So that is not very inpiring to me or to my students (to the followers of Paco de Lucia) Diego del Morao is big time old fashion in technique and nails because he learn that from his father. In flamenco music creation same thing Diego has not done anything “ new” or “novel” which Paco has not already done 40 years ago. I proved that objectively through analysis on the next link www.rdiaz.org/NEWrdiaz-pacoart-7.html (at the botom of that page) So yes, Diego is to be considered old fashion from our point of view. It is not that because someone is younger in age that means he is modernistic in his music, for example when Stravinsky was 87 years old he was top most modern musically. Therefore Mr.Estulin on this video about picado and by fortune I am not talking anything about Diego del Morao’s techniques or his nails length but about Paco de Lucia’s nails length and about his technique. I am sorry if you like those players but we don’t follow Diego del Morao or anyone else but Paco, we in our circle and through the 2,000 videos which are on this channel we follow only Paco de Lucia because he is not limited at all. By the way, have you ever pondered why Paco de Lucia's signature is there on Diego’s own guitar… ? I know why. And YES! flamenco (modern flamenco) is all about Paco de Lucia and next are the objetive facts in a comparative table of Flamenco before Paco de Lucia, his innovations and flamenco at the present time. www.rdiaz.org/NEWrdiaz-pacoart-2.html To support the view that Paco de Lucia is the only true innovator of contemporary flamenco guitar, I have assembled a comparative analytical table of some original flamenco works performed before Paco de Lucia, then some innovations brought about by Paco de Lucia himself and, finally, some flamenco works which have succeeded his innovations. In this table, I provide a comprehensive analysis that focuses on the art of flamenco guitar by addressing the following seven dimensions: (1) the guitar he used; (2) playing posture; (3) the flamenco guitar techniques used; (4) the rhythmic features (5) a melodic analysis (i.e., the scales utilized) (6) a harmonic analysis; and, finally, (7) a summary of his arrangements. The table demonstrates in a very clear, plain and unambiguous manner how Paco de Lucía’s contributions entirely changed the flamenco art-and very notably with respect to both flamenco music and cante. Other inferior figures to our goals are irrelevant part of that I exaplined in the following video tittled: "I prefer traditional flamenco" Translation: I have no idea about harmony and I fear new ideas th-cam.com/video/bz-YBHb8bYc/w-d-xo.html Have a nice day. Ruben
He not only did not drag when playing buthe followed also many other rules: Video 20 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
@@rubendiazguitar Many thanks for the full answer. Did Paco use three fingers for Picado at any point and time? I discovered that you can play ex trimly fast using the ring finger as well as the classical approach of the I and M fingers
Rubén, cuando hablas de pasarse de un ejercicio a otro, hacer un poco de esto un poco de aquello.... quieres decir que es mejor dedicar todo un día o toda una semana o todo un mes a mejorar únicamente la técnica de picado, y luego hacer otro día (u otra semana, u otro mes) técnica de otra cosa, por ejemplo, pulgar? Yo practico técnica de dos cosas cada día (pulgar y picado un día, arpegio y trémolo otro día, etc) pero no sé si ésta es la periodización correcta. Esto puede sonar mucho a deporte, pero me preguntaba si tú lo tienes estudiado.
Hola Fede: Hay que estudiar dentro un programa especifico y personalizado y tener un balance entre técnica, ritmo th-cam.com/video/MPT5gLphZpI/w-d-xo.html y repertorio, esto hay que hacerlo muy meticulosamente porque la confusión esta aqui... en lo que necesitas en oposición a lo que te gusta estudiar, para esto hay que seguir seriamente un solo método bajo la supervision adecuada, pues no hay formulas baratas que sean validas para todos, osea que si se aspira a la excelencia hay que pagar el precio y eso significa que hay que aprender COMO estudiar no QUE estudia y esto se aprende de alguien que ya ha logrado un nivel alto en el asunto, esto ya lo explique aqui en One thing is to talk and write words , another is to actually PLAY th-cam.com/video/Wn07J9jSPsE/w-d-xo.html Saludos!
Добро пожаловать, иногда есть также специальные предложения на этих гитар и если вы хотите, чтобы информация о вас может отправить электронное info@rdiaz.org С уважением
Thanks for that great summary, Maestro! It's all there. I have a curiosity question... do you use the 3-finger type of picado? Although I'm thinking you really don't need it, with so much chops. :) I wonder if Paco used it.
Yes David that is another thing which is ornamental and belongs to the family of arpeggio techniques, every now and then we use that only for certain ornaments. The picado technique consist in alternating just two fingers which are Index and Middle th-cam.com/video/iQghhyf898s/w-d-xo.htmlm58s Regards
Там несколько цены вы можете увидеть все здесь andalusianguitars.com/FS1932-1-spruce-hayab-maplef-fresno-yellow-12.html в каждую картину, есть много много изображений andalusianguitars.com/catalogue-homeAG.html
If you like to take a lesson send me an email to rubendiazguitar@gmail.com
{reserve your time here bit.ly/31z5ojO }
all my current skills of picado came from here, i tried theses steps for more than 6 months and now i can confirm theses are solid counseling
thank you
Keep it up and thanks for your comment!
Picado Secrets of Paco de Lucia bit.ly/2W6hRsi
1) Avoid "fallen posture"
2) Play mainly from the 2th joint
3) Don’t rest your thumb on the 6th string
4) Don’t practice playing "Staccato"
5) Avoid sided attack if possible and put there flesh as well
6) Keep correspondence ok for both hands (string length)
7) Keep nails short and sand them properly
8) Avoid bending 1st joint (any finger)
9) Do not repeat finger or drag, play always alternating M I/rest stroke
10) Push down slightly and release while playing rest stroke
11) Align your wrist with your forearm if possible and avoid tension
12) Stop pinky's phony stuff moving around or stiff and avoid contracting fingers
13) Eliminate doubts about the difference between practicing and playing
14) Learn HOW to practice with equilibrium ideal under supervision
15) Video Record your practice and homework's
16) Get supervised, dont waste your valuable time
17) Always practice with the metronome. Using a proper mute sponge is optional.
18) Practice with a blindfold and get command over your fret board
bit.ly/2W6hRsi
wow this is amazing advice thank you so much!
Thank you for the precious advice!
That inlay is absolutely beautiful. It complements the combination of woods & tones very nicely. I love the blindfold advice. Good note to finish on (pardon the pun). This is how I first learnt the fretboard, playing in the dark - no lights. I felt it was a good way not only to know the layout, but also to play with feeling. A very valuable video Ruben.
Thanks dear S. Your inlay is also amazing andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-1.html has grapes there representing the fruit of Simplicios ideas (imo)
I think this video has everything that people will need on scale playing picado. Regarding the blindfold just see the consequences of not doing it here www.rdiaz.org/rdmagazine86-12jun16.html#magazinerec1
(my video its here called Staring at the fretboard Vs Owning it
th-cam.com/video/qcsLaSaxNs8/w-d-xo.html)
Best Regards
Ruben
Ruben Diaz Flamenco Guitar
Me has ahorrado mucho sufrimiento. Ruben, gracias por compartir tus experiencias y conocimiento con nosotros. Que el legado de Paco llegue a nuestras manos tan directamente, no tiene precio...esto es material. V.I.P. Un abrazo desde Puerto Rico. Que viva Paco SIEMPRE!
Te agradezco Ayala, este canal existe para inspirar a los demas th-cam.com/video/Ql0z_eWra2E/w-d-xo.html me alegra que te ayude a tocar mejor!
Thank you for this information. I would have loved to have met the master like you did but his music and art still lives on!
Very interesting point on the place of RH with LH. I've never thought about that before. Thanks for the info!
Glad it was helpful Jon!
Gracias. Explicas muy muy bien y se nota que lo haces con mucha entrega y pasión. Te deseo todo lo mejor
Gracias Angelo! si quieres un dia charlamos por Skype!
este es mi email info@rdiaz.org
Ruben, Thank for these helpful tips. Been hitting certain roadblocks when coming to be more accurate and faster. After correcting my posture, I can already tell this difference. Its actually easier to play. Thank you again for passing on such a treasure of information.
Thanks Hua for your comment: I am happy this video help you to improve,
and remember that inspiration comes from hard work goo.gl/TVhSwm
I think the following video may also help you greatly
th-cam.com/video/iQghhyf898s/w-d-xo.htmlm58s
Regards
Inspiration comes from hard work goo.gl/TVhSwm
(with this posture you could flow like this th-cam.com/video/hHgS79eM-24/w-d-xo.html)
Ruben muchas gracias, despues de 10 años de tocar guitrarra hasta ahora me doy cuenta de mis errores, y ahora veo porque nunca pude superar ciertas barreras, pero estoy seguro que con la ayuda de tus videos lo lograre.
Saludos desde Mexico!
i like to practice melody's from Django Reinhardt, Jobim and Duke Ellington and play with the radio sometimes...
Fantastic! Fantastic! Thank you so much! I'm 2 lessons into my Flamenco training & my teacher has not told me about all these things nor corrected me. Hopefully he will later. But I have a BIG head start now!
This things have to be explained from day one, otherwise it will cause trouble, see here Repeat zero mistakes (that´s my method)
th-cam.com/video/1OrreMx6ek8/w-d-xo.html
Regards
apenas entiendo esto ! por favor pongan atención a este video para que no tengan que tomar cantidades industriales de alcohol para que tengan efecto ayahuasca
Outstanding job Ruben!!! Thanks
Gracias, muchísimas . Es verdadero tesoro puro para el guitarrista serio en el arte del flamenco .
I started recording myself and it makes a HUGE difference.
Some of my 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
Excellent explanation, thank you!
Спасибо, дорогой Рубен!
Спасибо тебе мой друг!
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...
Me va a tocar ponerme las pilas con esto, Rubén! Muchas gracias por esta lección tan completa! Me pasa por caradura!
Se debe estudiar bien, y tu puedes adquirir lo que necesitas tecnicamente (con voluntad y currandotelo)
y eleminar lo que no necesitas (vicios y posturas inconvenientes) el siguiente video tambien te servira mucho para analizar todo esto th-cam.com/video/iQghhyf898s/w-d-xo.htmlm58s
Saludos
Tengo tiempo libre limitado pero asi lo haré! Voy a intentar analizar todo esto. Lo ideal sería contar con tu supervisión, a ver si podemos hacer algo! Muchas gracias de nuevo, un saludo
Master , I want to apologize for my Ignorant Comment that i made in one of your videos where i said its sped up, but now i am not blind and ignorant anymore, been practising with your Technique instruction , and have to say , it was hard for me to digest the fact that ive been practising wrong for 8 Years consistently it hurt me when i watched the trigger warning video, but then i decided to improve and i decided to be humble and desperate to learn , and here Master you are doing a great job of Providing free knowledge , and ive been practising picado technique from this video since 1 year , and i have to say my tone is super improved with consistency , my attack feels hammered like piano and i can feel weight lightly while picado playing its loud clear and ringing .
sometimes i have pain ( but after a long period of time )that i have while practising is in right shoulder blade, and scapula, would you please enlighten us , how to avoid that pain, while practising . Please, Ruben Sir. thank You SOOOOOOO MUCH.
Dear friend Rebel Droid, you did well to question that point as today many people do fake stuff so you are right in that sense and I took it as some kind of "special compliment" somehow or other, so no hard felling's at all about that my friend. You can always improve things, like not having to constantly look at the fretboard bit.ly/3x2FQcW etc any time you like I show you what I teach on Skype as I can tell your intention was that you really love to play guitar and that in itself makes you and me have that love both for music in common.
The way to not waste time its explained here bit.ly/3isTUHA and of course I am always willing to help you anytime!
I really appreciate all your words as you are exactly the kind of people who love to learn guitar and enjoy actually the process of learning guitar.
Never mind I get $9 a month for the +2,000 videos public I have here {as I have other 1,000 private for my students) that without mentioning the 7 years every month of watching time, as you can see here in my thanks video! bit.ly/3db5dP0
But I do it all because I also love music like yourself
so you know as I said, anytime
my email is: info@diaz.org
and we can personally talk about you in skype anytime!
Thanks for your participation!
Ruben
@Ruben Diaz Flamenco Guitar Thank you Soo Much Master Ruben, You are the only True Zen Master of Flamenco , we all appreciate your efforts of bringing the TRUE knowledge , TRUTH is light when we posses it , everything that was dark becomes enlightened!! 💗😇❤️
Ruben thank u for your time...I will be looking for a flamenco guitar soon as I am a beginner...
Send me an email and I can help you with some nice options Joe
Regards
Ruben
Thanks for all your video's! I learn a lot from it.
I like how he just gets into it with gusto.
Ruben, thanks for sending this video in your last email.
Any time!
See here how short movements works better th-cam.com/video/fijI_fyRwik/w-d-xo.html (Leonidas Kavakos plays No5 by Paganini)
Thank you from Lebanon ❤
Thanks to you!
Do you also play?
Yes i do
como NO puedes estar interessado en la technica de el maestro mas grande. Gracias por compartir esta technica. muchas gracias
Gracias a ti por tu mensaje Nico!
Yo entiendo lo que preguntas pero en el siguiente video th-cam.com/video/bz-YBHb8bYc/w-d-xo.html en la sección de comentarios podrías preguntarle eso mismo
a Mr. Fredrik Olsen
(quien dice que el mejor es Juan Serrano y no Paco de Lucia)
y también pregúntaselo a Mr. Matthew Sutton que dice lo mismo esta vez con Manolo Sanlucar…
Como podrás ver hay mucha gente así en los circulos de flamenco Kitsch
y por eso ese video tiene como titulo:
"I prefer traditional flamenco" Translation: I have no idea about harmony and I fear all new ideas.
Saludos!
Ruben Diaz Flamenco Guitar jajaja lo que hay que ver en este mundo. Muchas gracias por su respuesta maestro.
Gracias a ti y recuerda: Mi canal existe para inspirar a los demas
th-cam.com/video/Ql0z_eWra2E/w-d-xo.html (my channel exist to inspire you all)
Saludos desde Barcelona master Sr. Diaz. Puede explicarme a que se debe el agujero en el lateral superior de algunas de sus guitaras? Gracias por sus master clases
{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
Thanx you very much for sharing this is really meaning to me ..regads
You are welcome, if you have any question you can write me to info@rdiaz.org
regards
I can say, that i can play picado now, your videos helped me, i have more speed, power, contrast, but i can't help one thing, my middle finger nail gets cracked many times, what can i do ? It's not long
How can I learn to lift my shoulder from the back muscle? I had to come up with a posture so my hands are relaxed on the guitar and my shoulder doesn't do any work. I play with a support on my right leg. I can't have my right arm straight, can't hold it like that, my shoulder doesn't allow it. Any tips?
Yes I would need to see you in a video or on Skype to really advise about posture Adam, I also use this posture th-cam.com/video/L7GLN9WDup8/w-d-xo.html
Hey Ruben. Your suggestions and theories are helpful but why are your picados not clean when you past the third string? They're kinda choppy. If you pay attention to Jose Antonio Rodriguez or Antonio Rey they play their whole scale clean with the same clarity.
Do you mean this guy here th-cam.com/video/7CxetnPeLqs/w-d-xo.html
talking on Paco's opinion about me...? (he was my student for years)
Well, arminjan5555 there are many reasons why I have a defective picado,
one it may be because of what you can see from the following link goo.gl/TVhSwm that in itself may have make me become cynical and careless about picado (poor me) cause that was certanly at the risk of having such great players like yourself commenting negativelly about it and I wrongly hoped that they never would eventually notice that... just as it happened in this case.
Other defects in my picado may be atribuited to the fact that I really need to wake up and take some lessons from you soon, so that I can finally learn the after 40 years of playing the right right way to play picado.
I mean, cause just having this much of an audience th-cam.com/video/vfZMCoc7kWg/w-d-xo.html
is not enaugh... to satisfy the high standards of apreciation of masters like arminjan5555 or the other two great heroes you mentioned before,
and now I am feeling really sad confronting my reality, namely the fact that
I really need to study with you because only someone like you can actually enlighten me properly on picado, and of course anyone would agree on that.
So would you accept me as your student and correct my bad picado...?
Ruben Diaz Flamenco Guitar I feel really sorry for you because you obviously have some insecurities due to the fact that I said nothing negative. What I said was a genuine question and I didn't mean to come off as rude. I myself am not even close to any of the players I named. And I also mentioned that your tips are helpful but I'm just so sorry that you take a comment so offensive that you come off so sarcastic because my intention was to really know why your picados get choppy and unclean from the third string up.
I am not offended, I am asking for your help. Thanks to heaven this picado th-cam.com/video/Fn-CvCFTNW0/w-d-xo.html was not on the 3th string up... otherwise it would get choppy as you said, because I know picado but only in 2 strings 1st and 2th and thanks for letting me know that because I did not knew it before you said it. I do appreciate your wise judgment and positive advise btw here is a video for you
th-cam.com/video/yHU3mq2oECA/w-d-xo.html
and thanks for mentioning that my tips (which are actually Paco´s)
are helpful, if you had not mentioned that in your comment, I dont know if I could sleep tonight...
It is thanks to you that I am realizing how much I misunderstood all what Paco taught me about picado www.rdiaz.org/rdfoto88.html
Ruben Diaz Flamenco Guitar you are very welcome Mr. Ruben Diaz.
arminjan5555 his picado is not choppy, however I think Ruben should get a higher quality microphone to improve the sound quality, because you can hear a lot of echo off the walls, and the sound has a lot of treble, maybe making the bass notes not coming out as clear. I’m speaking more so of the beginning of videos.
Never seen sound hole placement on rim of body. That's awesome
Here Ross andalusianguitars.com/triple-sound-port-5.html
Ruben EXCELENTE Video!!! Una pregunta: Esta tecnica de picado se usa para escalas y tambien arpegios (ciertas notas de la escala) ? Normalmente la mano derecha no esta recta al tocar acordes arpegiados , tambien se debe tener la mano recta en acordes arpegiados?
Hola Manny mira estas reglas de postura no se aplican al arpeggio solo al picado (de lo contrario lo habria mencionado) el arpegio requiere otro tipo de reglas y no tiene nada que ver con lo del picado.
Saludos
Gracias Rubén! Este vídeo vídeo responde a mi pregunta añeja de por que se escuchaban tantas notas al ver a Paco tocar su picado y no mover tanto la Mano izquierda... la respuesta: 3 toques por nota !!! EXCELENTE!!!
Ruben un tema trae otro... si recomiendas tocar “blind folded” entonces por que Paco tenía un punto de referencia en el traste 7 de su guitarra? Jajaja
@@mannyr1709 Mira aqui hay varias fotos de la guitarra de Paco www.flamenco-guitar.net/museum/hermanos-conde/hermanos-conde-1980-guitar-1/ te puedo asegurar que el que te dijo lo del traste 7 te estaba mintiendo.
Amazing 😁😁😁😁
Thank you so much 😀
Gracias por las técnicas maestro
Thank you maestro.
hey, thank you so much. I am buying my first Flamenco Guitar in a couple of months. I love your really informative style of teaching. I teach guitar but never played Flamenco. Mi papa era Mariachi, y me eneno desde 11 anos a tocar. Later on I learned Western style music theory too. But I love how flamenco uses old styles of teaching theory. And al the techniques look so much fun. Do you offer classes?
Yes Biviano if you want information about my Skype lessons please send me an email to: info@rdiaz.org
and to get a guitar check the next video "5 awful inconveniences of everyday guitars" th-cam.com/video/4CToW1GsXZ8/w-d-xo.htmlm48s
Regards
I understand that you in the beginning said, this is if you wanna learn like Paco did! But I would like add one important thing: all practice techniques, postures, finger positions that obviously worked for Paco so perfectly may not work for other guitarists! His comfortable position may not be so comfortable for others, every single human being is different, every hand and fingers are different (in shape, girth, width, bone structure, tendons...). My advice is, go check how many different guitarist play and practice, but in the end work on your OWN style, feeling, technique, sound! Only that will make you great artist! And of course, other super important thing, don't play only 1 genre of music and 1 instrument! Have the main one or two, but you will be more complete musician and player if you experience many styles and many instruments!!! Master one (two...) but learn many (at least simple basic stuff)!!!
Thanks for your comment Kana, I agree that one should play other styles too, but Paco´s technique is Paco´s technique and for many people it works (like for me) only for them I made this video. Regarding the other thing you mentioned I elaborated on that on the following video: "Why follow Paco de Lucia ? everyone has his own technique"
Translation: I secretly follow no-one... th-cam.com/video/gtgdvyN2kd0/w-d-xo.html
Regards
I know, but I wanted to point this out to random people! Because many beginners tend to blindly stick to "rules". I think that's wrong way, music is firstly feeling and creation, then rules, math and science!!! All you said in the video is on spot! Lately I am learning flamenco (played rock, metal, blues and stuff like that my whole life, with pick. Right now I am working on my right hand as it's 15+ years behind left :O)... so every single advice is like treasure, so thanks for sharing your knowledge!!! :)))
See here goo.gl/TVhSwm I dont record this videos for random people Kana. And because Paco´s technique is THE most eficient people follows th-cam.com/video/3Jb5a75KTqg/w-d-xo.htmlm53s and that is science
Regards
I will check it out and extract out knowledge to implement it in my style :))) Thanks for the effort.
ps - forgot to mention one example of music freedom! In flamenco people tend to hold right hand at the edge of the hole (closer to bridge - for a more plucky/lighter sound) while I prefer to play it more near the neck (even 2cm off the neck) for more deeper and fuller sound and I really don't care if it's not in the spirit of flamenco style, because I like the sound more there (this doesn't mean I don't play near bridge when I feel it fits better). Just wanted to share this thing to show that there is just no right or wrong in music and every single person's tastes are different. :)) I like to say: no boundaries when you create music
Please let me clear this points Kana:
1) The vague idea that every technique is valid without an specific prove of musical achievement using that technique is just like saying that the answer to 2+2 can actually be anything you like...
so that for us followers of Paco de Lucia is totally unacceptable.
2) In my experience people pushing that kind of nebulous philosophies are “coincidentally enough ” those who do not have a great technique themselves. And my teacher did not agree with them.
3) If I want to study and play the Violin like Sumina Studer th-cam.com/video/0jXXWBt5URw/w-d-xo.html
I need to know Paganini, and not just “any technique”
btw yes, that technique is still valid today and the previous video proves it very well, although at the end of the day people still will like to believe just anything… with or without any prove of that been truth, that it does not bother me , as far as for my point that is here
th-cam.com/video/nXXy0ZTC0UE/w-d-xo.html
4) If you like not to follow Paco de Lucia I am ok with that.
But first please prove here how much you play nylon string guitar, which sound you have etc by posting here along with your next answer to this comment a video of you playing , so that we can at least give proper validity to your words according to your real level of achievement and, that just by talking and writing over and over words cannot be accomplished, so please first post something you play with nylon strings using your “own” technique
and then we can continue discussing this topic further.
Regards
Ruben
Hi Ruben, thanks for all the hard work that you do. Please keep up the great work. I wanted to know what types of guitars are these that you play? Who makes them? I always see you playing different ones, but they all seem to have a similar format of design. Thanks!
Yes Ray this kind of guitar is here andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-13.html
Here is some important data about Simplicio
21 features on AG Simplicio th-cam.com/video/LaZ4mcFKtVQ/w-d-xo.htmlm
Three-dimensional sound th-cam.com/video/yp15_iiIK5U/w-d-xo.html
andalusianguitars.com/characteristicsAG.html
Guitar made around 1929 by Francisco Simplicio
www.themomi.org/museum/mfa/popular_guitars/1929-30_F_Simplicio.html
Simplicio noticed a disadvantage of the traditional sound hole position in
the weakening of the guitar top in a crucial area and also in a reduction
of the sound emitting surface of the top (Huber, J.: The Development of
the Modern Guitar, Westport, 1994, p.27). The increased sound emitting
surface should also improve the sound emitting in the bass range (Stark,
D.: Diplomarbeit - Entwurf und Bau einer Konzertgitarre mit doppelter
Decke in Sandwichbauweise, Weimar, 2006, p.6)
Impact on the sound:
Omitting the sound hole or positioning it on both sides of the fingerboard
leads to an enlarged vibrating surface of the top. Cue to the ratio
between top length or width and top thickness, it is possible to:
- attain the same degree of flexibility of the top as in a traditional
guitar, but obtaining a higher mass of the top (this leads to a better
sustain without the loss of attack and responsiveness)
- attain a more flexible top than on a traditional guitar, but maintaining
the same mass of the top (this leads to increased loudness and
responsiveness without the loss of sustain).
In addition, the Helmholtz frequency
polettipiano.com/Pages/airresengpaul.html
can be lowered significantly, which in turn has an impact on the tonal
character of the instrument.
See on the next link from an auction a Simplicio sold for $225,000 usd
www.liveauctioneers.com/item/24672499_1927-francisco-simplicio-presentation-classical
Simplicio was a Genius and is considered the Stradivari of guitars.
See how to sand your nails here bit.ly/2TCCiwi Then those playing in maple fretboards search the ideal string tension for your guitar. We can use high tension and feel as if it is low tension. As you may know I prefer maple fretboards with the strings that I help to design aquilacorde.com/negozio/corde-musica-moderna/chitarra-flamenca/sugar-extra/ try those too. And for the new please remember that it is not that I lacked experience playing on Ebony fretboards see here bit.ly/2ZEkSU9
(did that for 30 years) but in any case half decade ago I moved to Maple fretboards and
I now could not come back to Ebony for playability it is far easier to play picado on Maple
great stuff, though strange that Ben Woods mentioned that Paco drags his finger during picado
And do you believe that Takami...?
th-cam.com/video/uIV51ouiuxw/w-d-xo.html he never did that, if you slow this down to 0,25, you'll see he always alternates. Dragging doesn't help anything because you have to restart the picado mechanism every time after you drag
what's the difference between this guitar and the one with central resonance hole?
Here you can read all about that friend sites.google.com/view/new-definition-flamenco-guitar
Good job dude 👏 Warm cheers 😊 God bless 🙏🎸🎶
Thanks a lot!
Ruben. El problema que mas tengo es el no repetir dedos, especialmente con escalas que no tienen las mismas cantidad de notas por cuerda. Ej: escala mayor. Que recomiendas para no repetir dedos?
Aqui tienes algunos ejercicios para eso Manny bit.ly/2W9Whos
Gracias maestro. Me dejaste loco con el vídeo que pusiste de varías gente picando. Hasta Adam del Monte le diste duro! Jaja
How would you play tremolos?
Yes friend to play tremolo practice it in one string as I am doing here bit.ly/2QTklrb
Ruben como estas? He visto algunos videos tuyos y es admirable el tiempo y la dedicacion que has empleado en buscar las tecnicas mas propis y eficientes. Soy Colombiano guitarrista electrico y clasico y siempre me ha interesado mucho el usar las tecnicas mas apropiadas para alcanzar el mejor nivel posible. Abstraigo de tu video que hay dos escuelas para utilizar el picado, intente utilizar la tuya que es influenciada por Paco, pero tengo un para de dudas. Intente utilizar la tecnica de picado de paco pero veo que conviene mas para personas con las manos o mas especificamente los dedos cortos, lo digo porque intente y sentia mis dedos y manos debiles e incomodos en esta posicion. La otra duda que tengo es: No demoras mucho tiempo en trasladar el brazo para realizar un picado y devolerte a acompañar, hacer algun ritmo o utilizar el pulgar? ... Gracias y Saludos desde Colombia
Si Sebastian yo no tengo una tecnica la unica que enseño es la de Paco.
Esta se puede tocar sea con dedos largos o cortos eso no tiene nada que ver, y lo del acompañamiento tampoco es un problema mira aqui th-cam.com/video/tTv7GWozkj4/w-d-xo.htmlm48s
Saludos!
Can you please explain in more detail manner why playing dragging isn't good as alternating all the time?. Dragging can make you sensible faster and requires less energy (movements) to obtain the same results (ex playing 9 notes, 3 notes per string, dragging you need 7 movements whereas alternating you will need 9)
Thanks for your question Dany, First of all what I am explaining in this video here are Paco de Lucia’s techniques and his principles
(not my personal ideas) so I rather suggest as a practical experiment that you please post a video here along with your next answer just post a video showing by playing how well you can actually do by dragging and, on the other hand here is one of me playing without dragging th-cam.com/video/EPC-Lt8hkzE/w-d-xo.html then everyone will be able to see and listen what is better by facts (not by words written in a comment)
In Paco’s technique we do not drag, in case you want to conquer over this defect of dragging here is a video to help with that th-cam.com/video/NLn9nstXqxs/w-d-xo.html
Regards
Pd. Frank Gambale actually created a whole system by dragging
called "sweep picking" that is interesting but that is another thing.
Esa guitarra es una maravilla, quien la fábrica?, maravilloso tocando.
Gracias amigo, aqui esta la pagina de guitarras andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-12.html
Ruben Diaz Flamenco Guitar Muchas gracias, es una preciosidad la guitarra, yo tengo una Alhambra, pero tendré que ahorrar mucho para comprar esa joya jejeje
Si, por supuesto que el instrumento ayuda mucho, ademas puedes usar dos micrófonos también, como hice yo aquí th-cam.com/video/crPODXa0lVs/w-d-xo.html
Saludos
Gracias, eso amplifica el sonido bastante bien. Muy buena puesta en concierto, tomo nota, eres un gran músico sin duda alguna. Saludos!
How could he has such a low action on nylon guitar like that?
Yes Abi check this Quarter Coins test here bit.ly/3Et0IOW
C'est quoi comme type de guitares ,?
Merci
Cette conception de la guitare andalusianguitars.com/characteristicsAG.html est de 1929 et il a été créé par le plus grand luthier d’Espagne Francisco Simplicio www.themomi.org/Museum/MFA/popular_guitars/1929-30_F_Simplicio.html
Sur la vidéo suivante vous pouvez voir plus de détails sur th-cam.com/video/LaZ4mcFKtVQ/w-d-xo.htmlm
Sinceres salutations
Ruben
Pedro Bacan and Moraito had very long nails. How do you explain that?
Thanks for your question Ariel
In the head line of this interview goo.gl/D6F9Ab
you can read what Diego del Morao Diego confessed about himself:
"I'm a limited guitarist, very limited"
That is the naked truth Mr. Estulin
And when asked on last question:
are you very studious?
and
about how many hours do you practice?
Diego answered: "... I don’t like to admit it, but no, I’m not very disciplined, I practice just enough to get by, and no more. I ought to do more, but I’ve never had the discipline..."
So that is not very inpiring to me or to my students
(to the followers of Paco de Lucia)
Diego del Morao is big time old fashion in technique and nails because he learn that from his father.
In flamenco music creation same thing
Diego has not done anything “ new” or “novel”
which Paco has not already done 40 years ago.
I proved that objectively through analysis on the next link www.rdiaz.org/NEWrdiaz-pacoart-7.html (at the botom of that page)
So yes, Diego is to be considered old fashion from our point of view.
It is not that because someone is younger in age that means he is modernistic in his music, for example when Stravinsky was 87 years old he was top most modern musically.
Therefore Mr.Estulin on this video about picado and by fortune
I am not talking anything about Diego del Morao’s techniques or his nails length but about Paco de Lucia’s nails length and about his technique.
I am sorry if you like those players but we don’t follow Diego del Morao or anyone else but Paco, we in our circle and through the 2,000 videos which are on this channel we follow only Paco de Lucia because he is not limited at all.
By the way, have you ever pondered why Paco de Lucia's signature is there on Diego’s own guitar… ?
I know why.
And YES! flamenco (modern flamenco) is all about Paco de Lucia and next are the objetive facts in a comparative table of Flamenco
before Paco de Lucia, his innovations and flamenco at the present time.
www.rdiaz.org/NEWrdiaz-pacoart-2.html
To support the view that Paco de Lucia is the only true innovator of contemporary flamenco guitar, I have assembled a comparative analytical table of some original flamenco works performed before Paco de Lucia, then some innovations brought about by Paco de Lucia himself and, finally, some flamenco works which have succeeded his innovations. In this table, I provide a comprehensive analysis that focuses on the art of flamenco guitar by addressing the following seven dimensions: (1) the guitar he used; (2) playing posture; (3) the flamenco guitar techniques used; (4) the rhythmic features (5) a melodic analysis (i.e., the scales utilized) (6) a harmonic analysis; and, finally, (7) a summary of his arrangements.
The table demonstrates in a very clear, plain and unambiguous manner how Paco de Lucía’s contributions entirely changed the flamenco art-and very notably with respect to both flamenco music and cante.
Other inferior figures to our goals are irrelevant
part of that I exaplined in the following video tittled:
"I prefer traditional flamenco" Translation: I have no idea about harmony and I fear new ideas th-cam.com/video/bz-YBHb8bYc/w-d-xo.html
Have a nice day.
Ruben
Did Paco always played alternate picado or did he do the sweep sometimes going descending (high string to low)?
He not only did not drag when playing buthe followed also many other rules:
Video 20 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
@@rubendiazguitar Many thanks for the full answer. Did Paco use three fingers for Picado at any point and time? I discovered that you can play ex trimly fast using the ring finger as well as the classical approach of the I and M fingers
thank you Sir!
Rubén, cuando hablas de pasarse de un ejercicio a otro, hacer un poco de esto un poco de aquello.... quieres decir que es mejor dedicar todo un día o toda una semana o todo un mes a mejorar únicamente la técnica de picado, y luego hacer otro día (u otra semana, u otro mes) técnica de otra cosa, por ejemplo, pulgar? Yo practico técnica de dos cosas cada día (pulgar y picado un día, arpegio y trémolo otro día, etc) pero no sé si ésta es la periodización correcta. Esto puede sonar mucho a deporte, pero me preguntaba si tú lo tienes estudiado.
Hola Fede: Hay que estudiar dentro un programa especifico y personalizado y tener un balance entre técnica, ritmo th-cam.com/video/MPT5gLphZpI/w-d-xo.html y repertorio, esto hay que hacerlo muy meticulosamente porque la confusión esta aqui... en lo que necesitas en oposición a lo que te gusta estudiar, para esto hay que seguir seriamente un solo método bajo la supervision adecuada, pues no hay formulas baratas que sean validas para todos, osea que si se aspira a la excelencia hay que pagar el precio y eso significa que hay que aprender COMO estudiar no QUE estudia y esto se aprende de alguien que ya ha logrado un nivel alto en el asunto, esto ya lo explique aqui en One thing is to talk and write words , another is to actually PLAY
th-cam.com/video/Wn07J9jSPsE/w-d-xo.html
Saludos!
Toda la razón, Rubén. Gracias por tu detallada respuesta. Un abrazo!
Buenisimo.
Gracias Pablo, ya as visto este otro video? th-cam.com/video/pl2OpbT97Mo/w-d-xo.html
Que modelo de guitarra usa
Como estas Fran andalusianguitars.com/MB1942home.html
Como puedo comprar una guitarra como esta?
Aqui Ramon andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-12.html
tu donde vives?
Спасибо!
Добро пожаловать, иногда есть также специальные предложения на этих гитар и если вы хотите, чтобы информация о вас может отправить электронное info@rdiaz.org
С уважением
Thanks for that great summary, Maestro! It's all there. I have a curiosity question... do you use the 3-finger type of picado? Although I'm thinking you really don't need it, with so much chops. :) I wonder if Paco used it.
Yes David that is another thing which is ornamental and belongs to the family of arpeggio techniques, every now and then we use that only for certain ornaments.
The picado technique consist in alternating just two fingers which are Index and Middle
th-cam.com/video/iQghhyf898s/w-d-xo.htmlm58s
Regards
Gracias, entiendo. I was experimenting with it after seeing Atrafana's tutorials with it here, but I keep going back to los dos. :)
Сколько стоит эта дырявая лопата, которую ты реклмируешь?
Там несколько цены вы можете увидеть все здесь andalusianguitars.com/FS1932-1-spruce-hayab-maplef-fresno-yellow-12.html в каждую картину, есть много много изображений andalusianguitars.com/catalogue-homeAG.html
Ruben you are moving to much
Where? tell me with this video here bit.ly/3hMp2zc