On Friday, October 12, 2012 8:03:42 PM UTC-4, Alphonsus Jr. wrote:
> Discuss the possible pros and cons of using p-i for scales. I've been trying it out and I like the feel of it. The obvious con involves bass notes.>
It works fine. Don't let it become a distraction from getting your i-m together though. There are no shortcuts.
On Friday, October 12, 2012 5:03:42 PM UTC-7, Alphonsus Jr. wrote:
> Discuss the possible pros and cons of using p-i for scales. I've been trying it out and I like the feel of it. The obvious con involves bass notes.
It's awesome! Easy, fast, and sounds great. The only problem is... it's cheating.
Le vendredi 12 octobre 2012 17:03:42 UTC-7, Alphonsus Jr. a écrit :
> Discuss the possible pros and cons of using p-i for scales. I've been trying it out and I like the feel of it. The obvious con involves bass notes.
See:
Sor Opus 35 # 13(Segovia #2) (excellent to learn to control and balance P and i dynamic level
Sor Opus 31 # 19 (Segovia #10) p - i speed burst and precision in falling on a Coste Opus 38 #20 (Endurance and regularity in a very good technical context)
and the hidden jewel equivalent (easier) to Sor Op. 31 #19 (Segovia # 10) ...and by Sor himself,Opus 6 #4.
These are all for the pros... well ... the con ... do not play flamenco scales with pi.
One of the way of playing scale passage faster that has fell in disfavor now a day is to employ slurs. The addition of slurs (well planed) in a passage can not only double it speed but can open up and broaden the phrasing horizon.
On Friday, October 12, 2012 7:03:42 PM UTC-5, Alphonsus Jr. wrote:
> Discuss the possible pros and cons of using p-i for scales. I've been trying it out and I like the feel of it. The obvious con involves bass notes.
John DeChiaro plays very fluent scales with Pi. Every fast Pi I've seen, however, uses the Shearer P stroke. This stroke follows through to 'i' and utilizes the wrist joint, the middle joint and the P tip joint together. (See my two videos.)
On Fri, 12 Oct 2012 17:03:41 -0700, Alphonsus Jr. wrote:
> Discuss the possible pros and cons of using p-i for scales. I've been
> trying it out and I like the feel of it. The obvious con involves bass
> notes.
It has its uses. If it doesn't feel good,
you haven't practiced it enough. Regards, daveA
On Friday, October 12, 2012 5:03:42 PM UTC-7, Alphonsus Jr. wrote:
> Discuss the possible pros and cons of using p-i for scales. I've been trying it out and I like the feel of it. The obvious con involves bass notes.
On Sunday, October 14, 2012 10:46:28 PM UTC-7, (unknown) wrote:
> On Friday, October 12, 2012 5:03:42 PM UTC-7, Alphonsus Jr. wrote:
> > Discuss the possible pros and cons of using p-i for scales. I've been trying it out and I like the feel of it. The obvious con involves bass notes.
> Sometimes it's the perfect solution. LEE
I'm thinking of it as the default method. But as Miguel suggests, it feel like cheating.
On Friday, October 12, 2012 6:12:10 PM UTC-7, Fadosolrélamisi wrote:
> Le vendredi 12 octobre 2012 17:03:42 UTC-7, Alphonsus Jr. a écrit :
> > Discuss the possible pros and cons of using p-i for scales. I've been trying it out and I like the feel of it. The obvious con involves bass notes.
> See:
> Sor Opus 35 # 13(Segovia #2) (excellent to learn to control and balance P and i dynamic level
> Sor Opus 31 # 19 (Segovia #10) p - i speed burst and precision in falling on a
> Coste Opus 38 #20 (Endurance and regularity in a very good technical context)
> and the hidden jewel equivalent (easier) to Sor Op. 31 #19 (Segovia # 10) ...and by Sor himself,Opus 6 #4.
> These are all for the pros... well ... the con ... do not play flamenco scales with pi.
> One of the way of playing scale passage faster that has fell in disfavor now a day is to employ slurs. The addition of slurs (well planed) in a passage can not only double it speed but can open up and broaden the phrasing horizon.
Alphonsus Jr. wrote:
> Discuss the possible pros and cons of using p-i for scales. I've been
> trying it out and I like the feel of it. The obvious con involves
> bass notes.
P-i and more often, p-m get used on the banjo a lot. If you've never listened to Bela Fleck, now's the time. The Flecktones are each virtuosi in their own right, too - Victor Wooten on bass is better known than Bela.
Just to be clear, Jackson, I was joking. Playing well will feel like cheating to someone who can't currently play well. That's a pitfall of trying to build a Better Hand.
O
n Sunday, October 14, 2012 10:51:39 PM UTC-7, Alphonsus Jr. wrote:
> On Sunday, October 14, 2012 10:46:28 PM UTC-7, (unknown) wrote:
> > On Friday, October 12, 2012 5:03:42 PM UTC-7, Alphonsus Jr. wrote:
> > > Discuss the possible pros and cons of using p-i for scales. I've been trying it out and I like the feel of it. The obvious con involves bass notes.
> > Sometimes it's the perfect solution. LEE
> I'm thinking of it as the default method. But as Miguel suggests, it feel like cheating.
