This is the best explaination how to play a flamenco reststroke I have ever come across - suddenly everything fell into place, and I've been trying to get it for so long. When you said one must feel 2 strings at the same time, I had it in seconds. Thank you !!!!!!
I've watched lots of guitar videos from different players. You have a nice direct way of teaching. some people spend most of the time making thing sound over technical. Thank you!
Terry : I like what you have explained. Thank you for your time.I learnt a lot from this. Please do not take any notice of others that try to pull you down. They are not worth it. Thank you for speaking in English. Greetings from the UK
Merci beacoup pour le Conseil Maestro ❤, je voule juste dir que joue fort c provoque des blocage des Articulations Retardo. Gere le stress c aide A allez vite avec un.Soniquette tres propre, Fuerte Abrazo Maestro❤
First of all merci beaucoup for the video. As a professional guitarist, I would like to say some little think in a humble way; No one needs to practice 4-5 hours per day scales. The scale is one of the guitar technics. We need to practice the other technics such; alzapua, rasgueado, arpegio, etc. Out of my experiences, we should practice/play the guitar 5-6 days per week total 4-5 hour per day. So half an hour practice picado will be enough per day. But the key is continuity and persistence. Of course a lot of joy and love as well :)Life is so fulfilled it's not just the guitar. I wish you all happy life with the magic of the music.
You're right, no one needs to practice scales 8 hours a day "IF" you don't have to ! It all depeds on your inherant talent : some people even have to battle with arpegios. Anyhow, what I was alluding too was the fact that in Spain of the 1960's, it was what we were doing because of Paco de Lucia... he set the standard, and nobody could pick like him. So we got together in groups and picked like hell for 5 or 6 hours until our fingers fell off. Even today no one can touch the quality of the energy of Paco : for that you either need genius or 3 or 4 hours a day ! Cheers !.
It all depends on the free time you have to do things. I have allways been a professional musician, so i have 24/24. It also depends on how crazy you are with flamenco... in my 20's, i used to prectice 12 to 15 hours a day. Did that for 5 years. There's to rule exepting one : the more time you spend with your fingers are on the strings, the better you play.
I'm spending a lot of time learning flamenco and i'm progressing slowly except one thing is not progressing: despite all the exercices i'm doing and fingerstyles i'm learning, my ring and pinky fingers are still very dependant and my pinky can't rich some notes especially when i'm pressing with my ring finger that seems very easy for other players to reach. I hope you have a precious tipfor me that could help me with that problem. Thanks in advance
Quand on joue la neme on cherche la n+1. C'est l'experience qui parle une astuce qu'on ne trouve nulle part ailleurs qui m'etait d'une grande utilité. Merci
Thanks Frank, how are things in Germany ? I don't know about you, but i don't appreciate very much this new RUclips layout, i think the old one was better !
HI Terry. My picado is pretty developed for the beginner-intermediate level. However, it seems I hit a plateau in my development, and I don't think it has to do with my right hand. I get a feeling my left hand is the culprit here and is not syncing with the right hand properly. Both of my hands are quite fast and accurate, however I can't seem to get that crisp and uniform sound when playing scales at a higher tempo. My question is specifically about *prepared playing* and *continuous contact*. We know that in picado one must play staccato in a 'walking' type fashion, in order to prepare the finger for the next stroke. I was wondering if the similar principles apply to the fretting hand, if there are any. So far what I have been doing for ascending passages: The notes in brackets are planted by the left hand simultaneously. So after I play the 7th fret on E string, I plant the pinky on the 8th string and at the same time, my index finger relocates from 5th fret on E string, to the 5th fret on the A string. After the 8th fret is plucked on the E string, the index finger is already planted on the next consecutive note, 5th fret on A string, making the string-switching transition sound smooth. D----------------------------------------------------------------------------------------------------------(5)------------7--- A---------------------------------------------------------(5)--------------7----------------(8)----------------------------- E-------------5-------------7-------------(8)------------------------------------------------------------------------------- I have been doing similar with descending passages although it feels a little more tricky: D---------9-------------7--------------(5)------------------------------------------------------------------------------- A---------------------------------------------------(8)------------7-----------(5)---------------------------------------- E------------------------------------------------------------------------------------------(8)-----------7-----------5---- Is this a correct way to practice? Could you give me some advice or pinpoint me to some literature regarding this subject matter? Thanks ;)
+ubershredder1989 // My advice to you, is forget complicated exercises. Two ways : work up speed on scales gradually with a metronome, starting with quarter note beats at 110 until, after months and months, you get up to a professional speed (around 140-150), which means 2 or 3 hours a day. Or only work on scalic passages in your repertoire, which is more logical and sensible, because what gives you speed is KNOWING profoundly what you're playing. Carefull : Don't get broilled up in psychological considerations, you'll end up doubting yourself : just grind your teeth, play like hell, and keep on playing like hell... sometimes you have to force your way through things, like a boxer. When someone I knew asked Paco de Lucia why he was able to pick so fast, he replied "I just play, play and play !"
Peut-être que tu aurais dû scinder ta vidéo... une en anglais et l'autre en français ; mais je comprends aussi que cela demande beaucoup de temps. Autrement, bravo pour les claires et nettes explications !
IMHO: Yes you can. However, I have noticed that the best way to approach the picado (at least for me) is to combine the strike with both nail and flesh. The crispy, flamencoish picado sound gets produced "more" when combining the two. Naturally, you can play only with the nails or only with the flesh. Personally I think they both lack tone when played separately. Like I said, this is IMHO, how I have experienced my "picado-journey". Best of luck, cheers!
Merci pour le poste. C'est impossible de répondre aux problèmes personels dans un vidéo, ou dans une méthode. La morphologie de chacun étant différent, il n'y a pas de réponses absolus, ni générales aux difficultés techniques. La technique étant une question psychique, de sensibilité et d'intelligence personnelle, il faudrait chercher un bon prof et être suivi assidument dans le temps... quelqu'un qui sait enseigner et qui domine parfaitement la technique. Voilà, et bonne route !
@MrShadowguitarist What benadam says is only partialy true. Nylon strings are the logical progression from the old cat gut strings in use up to the 1950's. One must not forget that the flamenco guitar fabrication is the fruit of a centuries old tradition, and the flamenco guitar is known as such because it's facture has evolved through the use of catgut and nylon strings.
@MrShadowguitarist : 2/...You can use what you want for flamenco, however the true guitar is that of Andalusian facture. This is to say that the great masters of this art are allways looking for the perfect flamenco guitar, even though they try other guitars, pianos, saxophones, fluts, citars etc. It' a paradox : you can play on whatever you want, but you can't, because The true flamenco guitar is of Andalusian facture. All depends if one knows and abides by the "real tradition".
Well either do the video in English or French, this is a bit of a mess as valuable parts of his advice are lost in his failed attempts do instruct in two languages... Shame...
katttmandu To be honest I found the use of French and English to be remarkably effective for my learning. I'm often very picky with tutorials, but hearing this tutorial in two languages -simultaneously- makes it so my mind is always active -rather than passive- since I always have to leap between languages. As a fluent speaker of both languages, I didn't find it difficult to understand him in either language, and I found it far more engaging to hear the same messages twice over.
Merci beacoup pour le Conseil Maestro ❤, je voule juste dir que joue fort c provoque des blocage des Articulations Retardo. Gere le stress c aide A allez vite avec un.Soniquette tres propre, Fuerte Abrazo Maestro❤
This is the best explaination how to play a flamenco reststroke I have ever come across - suddenly everything fell into place, and I've been trying to get it for so long. When you said one must feel 2 strings at the same time, I had it in seconds. Thank you !!!!!!
I've watched lots of guitar videos from different players. You have a nice direct way of teaching. some people spend most of the time making thing sound over technical. Thank you!
Terry : I like what you have explained. Thank you for your time.I learnt a lot from this. Please do not take any notice of others that try to pull you down. They are not worth it. Thank you for speaking in English. Greetings from the UK
Thanks very much brother, always nice to hear good words. Cheers from France !
Thanks very much.The information is very good for me !!!
Merci beacoup pour le Conseil Maestro ❤, je voule juste dir que joue fort c provoque des blocage des Articulations Retardo. Gere le stress c aide A allez vite avec un.Soniquette tres propre, Fuerte Abrazo Maestro❤
First of all merci beaucoup for the video. As a professional guitarist, I would like to say some little think in a humble way; No one needs to practice 4-5 hours per day scales. The scale is one of the guitar technics. We need to practice the other technics such; alzapua, rasgueado, arpegio, etc. Out of my experiences, we should practice/play the guitar 5-6 days per week total 4-5 hour per day. So half an hour practice picado will be enough per day. But the key is continuity and persistence. Of course a lot of joy and love as well :)Life is so fulfilled it's not just the guitar. I wish you all happy life with the magic of the music.
You're right, no one needs to practice scales 8 hours a day "IF" you don't have to ! It all depeds on your inherant talent : some people even have to battle with arpegios. Anyhow, what I was alluding too was the fact that in Spain of the 1960's, it was what we were doing because of Paco de Lucia... he set the standard, and nobody could pick like him. So we got together in groups and picked like hell for 5 or 6 hours until our fingers fell off. Even today no one can touch the quality of the energy of Paco : for that you either need genius or 3 or 4 hours a day ! Cheers !.
@@terfle1106 I prefer manitas
It all depends on the free time you have to do things. I have allways been a professional musician, so i have 24/24. It also depends on how crazy you are with flamenco... in my 20's, i used to prectice 12 to 15 hours a day. Did that for 5 years. There's to rule exepting one : the more time you spend with your fingers are on the strings, the better you play.
I'm spending a lot of time learning flamenco and i'm progressing slowly except one thing is not progressing: despite all the exercices i'm doing and fingerstyles i'm learning, my ring and pinky fingers are still very dependant and my pinky can't rich some notes especially when i'm pressing with my ring finger that seems very easy for other players to reach.
I hope you have a precious tipfor me that could help me with that problem.
Thanks in advance
meercii beaucoup pour tes cours
exellement bien expliqué !! merci
Quand on joue la neme on cherche la n+1. C'est l'experience qui parle une astuce qu'on ne trouve nulle part ailleurs qui m'etait d'une grande utilité. Merci
j ai jamais vu cette technique avant, je jou dune autre facon, je v essayer. merci bcp
Graf Martinez?
This video is so valuable. Thank you very much!
You're welcome, cheers !!
Merci beaucoup Terry ! Avez vous quelques autres "tips" pour cette maniere de picado ? (preparation par example). Recuerdos de Holande.
Thank you so much,very helpfull..
Cám ơn bác nhiều.
@TheMagirus25 : Thanks my freind, keep picking !
very good!
@LONGWINDING : What's new, Frank ?
Thanks Frank, how are things in Germany ? I don't know about you, but i don't appreciate very much this new RUclips layout, i think the old one was better !
HI Terry. My picado is pretty developed for the beginner-intermediate level. However, it seems I hit a plateau in my development, and I don't think it has to do with my right hand. I get a feeling my left hand is the culprit here and is not syncing with the right hand properly. Both of my hands are quite fast and accurate, however I can't seem to get that crisp and uniform sound when playing scales at a higher tempo. My question is specifically about *prepared playing* and *continuous contact*.
We know that in picado one must play staccato in a 'walking' type fashion, in order to prepare the finger for the next stroke. I was wondering if the similar principles apply to the fretting hand, if there are any.
So far what I have been doing for ascending passages:
The notes in brackets are planted by the left hand simultaneously. So after I play the 7th fret on E string, I plant the pinky on the 8th string and at the same time, my index finger relocates from 5th fret on E string, to the 5th fret on the A string. After the 8th fret is plucked on the E string, the index finger is already planted on the next consecutive note, 5th fret on A string, making the string-switching transition sound smooth.
D----------------------------------------------------------------------------------------------------------(5)------------7---
A---------------------------------------------------------(5)--------------7----------------(8)-----------------------------
E-------------5-------------7-------------(8)-------------------------------------------------------------------------------
I have been doing similar with descending passages although it feels a little more tricky:
D---------9-------------7--------------(5)-------------------------------------------------------------------------------
A---------------------------------------------------(8)------------7-----------(5)----------------------------------------
E------------------------------------------------------------------------------------------(8)-----------7-----------5----
Is this a correct way to practice? Could you give me some advice or pinpoint me to some literature regarding this subject matter?
Thanks ;)
+ubershredder1989 // My advice to you, is forget complicated exercises. Two ways : work up speed on scales gradually with a metronome, starting with quarter note beats at 110 until, after months and months, you get up to a professional speed (around 140-150), which means 2 or 3 hours a day.
Or only work on scalic passages in your repertoire, which is more logical and sensible, because what gives you speed is KNOWING profoundly what you're playing.
Carefull : Don't get broilled up in psychological considerations, you'll end up doubting yourself : just grind your teeth, play like hell, and keep on playing like hell... sometimes you have to force your way through things, like a boxer. When someone I knew asked Paco de Lucia why he was able to pick so fast, he replied "I just play, play and play !"
Peut-être que tu aurais dû scinder ta vidéo... une en anglais et l'autre en français ; mais je comprends aussi que cela demande beaucoup de temps. Autrement, bravo pour les claires et nettes explications !
intéressant
Great "explication".
merci bcp
Hey Terry how much time i Need in the day to paractise i !? and Thnkx you are the Best Prof of Flamingo :)
Can you play Picado without using your finger nails? Can you use the tip of your finger?
IMHO:
Yes you can. However, I have noticed that the best way to approach the picado (at least for me) is to combine the strike with both nail and flesh. The crispy, flamencoish picado sound gets produced "more" when combining the two. Naturally, you can play only with the nails or only with the flesh. Personally I think they both lack tone when played separately. Like I said, this is IMHO, how I have experienced my "picado-journey".
Best of luck, cheers!
Merci pour le poste. C'est impossible de répondre aux problèmes personels dans un vidéo, ou dans une méthode. La morphologie de chacun étant différent, il n'y a pas de réponses absolus, ni générales aux difficultés techniques. La technique étant une question psychique, de sensibilité et d'intelligence personnelle, il faudrait chercher un bon prof et être suivi assidument dans le temps... quelqu'un qui sait enseigner et qui domine parfaitement la technique. Voilà, et bonne route !
@MrShadowguitarist What benadam says is only partialy true. Nylon strings are the logical progression from the old cat gut strings in use up to the 1950's. One must not forget that the flamenco guitar fabrication is the fruit of a centuries old tradition, and the flamenco guitar is known as such because it's facture has evolved through the use of catgut and nylon strings.
@benadam1 : My respons to what you have said is given in my reply to @MrShadowguitarist
Well famingo Style Is All What I wANT tO Play on guitar i'll Do What you already Said hnkx you :)
@MrShadowguitarist : 2/...You can use what you want for flamenco, however the true guitar is that of Andalusian facture. This is to say that the great masters of this art are allways looking for the perfect flamenco guitar, even though they try other guitars, pianos, saxophones, fluts, citars etc. It' a paradox : you can play on whatever you want, but you can't, because The true flamenco guitar is of Andalusian facture. All depends if one knows and abides by the "real tradition".
wao either you are an american speaking very good french...or the first french man with a perfect american accent.
😭😂🤦♂️
showing off with two different languages :p
just kidding nice tutorial!!
OK, sorry about that, cheers !
Well either do the video in English or French, this is a bit of a mess as valuable parts of his advice are lost in his failed attempts do instruct in two languages... Shame...
katttmandu To be honest I found the use of French and English to be remarkably effective for my learning. I'm often very picky with tutorials, but hearing this tutorial in two languages -simultaneously- makes it so my mind is always active -rather than passive- since I always have to leap between languages. As a fluent speaker of both languages, I didn't find it difficult to understand him in either language, and I found it far more engaging to hear the same messages twice over.
This guy's great, giving you free lessons. Show some respect you little snot!
MDR anglais francais :)))))))))))))) trop drole
Se io imparo come dici tu ......non arriverò neance dopo a pensione.pessimo esempio.
Merci beacoup pour le Conseil Maestro ❤, je voule juste dir que joue fort c provoque des blocage des Articulations Retardo. Gere le stress c aide A allez vite avec un.Soniquette tres propre, Fuerte Abrazo Maestro❤