ALZAPUA EXERCISE PDF

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Privacy Terms. Classical Guitar Skip to content. Quick links. Forum guitare classique - Forum chitarra classica - Foro guitarra clasica - Free sheet music for classical guitar - Delcamp. Classical Guitar technique: studies, scales, arpeggios, theory. Re: Alzapua exercises? I thought for a moment that you were going to follow that thought to its ultimate conclusion I did not use either word in a relative sense.

I used both in an absolute sense, since both "untenable" and "irrefutable" are by definition absolute, not relative. No, I wouldn't. Perhaps YOU would be. The reason that I wouldn't be using alzapua is because you can play perfectly good flamenco without ever using alzapua. I think you don't understand flamenco guitar, and furthermore are employing circular reasoning.

First you are defining flamenco guitar as something that employs all those techniques, then you are justifying your definition by saying that you must use those techniques for the music to be flamenco. Anyone who truly understood flamenco could not possibly make the statement quoted above. There are many different styles of playing flamenco guitar. There is — as I said - what is commonly known as concert flamenco, which largely employs those techniques — tremolo, arpeggios, alzapua, picado.

There is also what is commonly called "jondo" flamenco, or "old school" flamenco, which largely employs none of those techniques. You seem to think that concert style flamenco guitar is the only kind of flamenco, but you are mistaken, and you clearly misunderstand what constitutes flamenco guitar. There is concert style flamenco guitar, jondo flamenco guitar, and some players have fallen about halfway between.

Together, the entire range of all the various styles of playing flamenco guitar constitutes "flamenco guitar. And I have not said that jondo style is the only style. But it is "manifestly untenable" for you to state that concert style is the only true flamenco, just as it would be manifestly untenable for me to say that jondo or old school is the only true flamenco. But of course I have not said that. What I have said is that since jondo style is one way of playing flamenco guitar, then it is "irrefutable" that if a jondo style guitarist plays good or great flamenco without ever using alzapua, then he can play perfectly good or great flamenco without ever using alzapua.

Now, let us look at jondo style flamenco guitar. In flamenco circles Diego del Gastor is widely considered to be one of the greatest flamenco guitarists of all time. But ninety-nine percent of the time Diego del Gastor never played arpeggios, tremolo, picado, or. He played almost exclusively with. But according to you, one of the greatest flamenco guitarists of all time was NOT playing flamenco.

According to you, he could not have been playing flamenco because if he were playing any kind of flamenco great good bad concerted disconcerted tenable untenable or otherwise, he would at some stage be employing or trying to employ among other flamenco techniques - alzapua.

Unfortunately for your untenable assertion, he does not. I am not allowed to insert links, but I invite all interested members to simply watch any video of Diego del Gastor, and see how often he uses alzapua.

Or tremolo, or arpeggios. Finally — " I think Denian has you pegged - you just don't like flamenco! I performed for twenty years as a flamenco guitarist, both as a soloist and accompanist to well known flamenco dancers.

I have taught flamenco guitar for thirty years, and I was the flamenco guitar critic for the Los Angeles Herald-Examiner. And all that because "I don't like flamenco. Classical and Flamenco guitar lessons via Skype worldwide - Classical and Flamenco guitars for sale. Discouraging and disparaging the use of that technique puts your teaching into question.

If someone came to Delcamp and asked for classical guitar arpeggio tech advice, I wouldn't tell them they could play perfectly good classical guitar without it, yet this too would be technically true - one could put together an entire recital programme that does not use arpeggios.

Now that you have explained your reasoning I have to say you have a few flamenco fundamentals completely wrong, and you are making leaps of logic between these to defend your position. He's a flamenco guitarist isn't he? I was just trying to make a feeble joke Many different light examples.

As a relatively new initiate to flamenco your exchange has taught me quite a bit and solidified concepts that were a little shaky. One question comes to mind - isn't alzapua an extension of the pulgar technique? If Moron was known for it's extensive use of the thumb, wouldn't the players from there also play a lot of alzapua?

I was not referring to "jondo" as it relates to flamenco in general, but rather, as I explained, I was using it to refer to a specific style of playing flamenco guitar, which has been called "jondo guitar. Now — let us recur to my original statement, which was: "You can play perfectly good flamenco without ever using alzapua. Consequently you must either unequivocally concede the validity of my statement, or you must unequivocally reject it.

You cannot partially reject it, and you cannot — as you have done - concede its validity, but then go on to attempt to ameliorate your concession by adding modifiers, disclaimers, qualifications, explanations, etc. So you must reject it unequivocally. But if you unequivocally reject it, then you must — and are - fully making the exact opposite statement, which is: "You cannot play good flamenco without using Alzapua.

So the fact that some old school guitarists used alzapua is entirely meaningless and irrelevant as a refutation of my original statement.

But wait — it gets even worse. Anyone rejecting my statement that "You can play perfectly good flamenco without ever using alzapua," is also making the following statement: "No guitarist has EVER played good flamenco without using alzapua.

Not even one. Because if even ONE guitarist has ever played good flamenco without using alzapua, then my assertion is validated, and any rejection of it is refuted. If you concede the validity of my original statement, then you should simply concede without further comment. What you have done is concede my point, and in the next breath qualify your concession. But whatever you added negates your concession, and renders it a rejection.

I regret that I cannot spend any more time on this thread, nor do I see any need to, so I will not comment any further on this thread. You of course are free to concede the validity of my original statement without additional comment, or else stand on and attempt to defend the following statements: "You cannot play good flamenco without using Alzapua. Last edited by Blondie on Tue Mar 22, pm, edited 1 time in total.

My interpretation of Ramon's asserion that perfectly good flamenco can be played without alzapua was that he was talking about a purer, perhaps older form that really expresses the essence of Flamenco. Alzapua is exciting and flashy for sure, but perhaps Ramon is right, a certain purity of flamenco is absolutely to be had without resorting to the fireworks of alzapua. That's how I understood him, but hey, I'm no flamenco and I defer to those who are, including Ramon.

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This exercise combines a few techniques to warm up both hands. It starts with the chords D, A, G and F sharp in arpeggios and picado and ends with a variation on this idea, using the chords B minor, A, G and F sharp. Notice that all the slurs are on the first two notes of the triplet. Keep the notes ringing as much as possible when changing from one position to another. This exercise is allegedly based on something else written for classical guitar. Move the same pattern up the fretboard until your fretting-hand tires. The suggested fingering keeps the index, middle and ring fingers on the same strings as much as possible.

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