Something New

I did say this won't be a conventional blog on classical guitar. Sooo here is my new to-do:

It's the second day since I started practicing the Flamenco triplet. No I can't do it fast yet, but I feel more comfortable doing the 3-step movement now. Yesterday my hand moved and felt so awkward. But I just did it again and again until I got them right one after the other. I expect to do this again and again and again to get the speed right. Meanwhile Gabriella's version is still a crazy long loooong way to go:

The triplet is quite exhausting to do. I don't know if it's me or the technique, but my wrist tires easily after a few strokes. I rest for a few minutes every after 20 repeats - doesn't help so much in establishing speed but it does aid in muscle memory. Lemme know how you're doing with your exercise.

Before I started with the triplet, I cut my thumb nail quite close. I tried doing the triplet with a long thumb fingernail, but I ended up hurting my thumb and I often got caught between the strings. I chafed the flesh just below the nail too during the upstroke. Prepare for a bit of pain.

If you research a few other Flamenco triplet vids over in YT, you'll notice that quite a number of guitarists have an ugly patch of paper, plastic or whatever on the sounding board, below the 1st E string. If you're wondering why so, it's to protect the sounding board from nail scratches. Beware of that too.

The Good, the Bad, the Ugly

Hi!

I forgot to post last week. No good news though. I'm still stuck with my repertoire, making slow progress on Hey Jude and Ikaw fingerstyles.

Anyway, I just unearthed my bamboo flute. Horrendous sound, but it'll do for now.

I'll post 2 videos hopefully within the week. Faulty net connection and all.

I miss playing my djembe with a group.

Making Progress II (?)

Actually, I'm not. The last one I learned is still Tarrega's Adelita. Saving up for a copy of Jose Valdez's arrangements. I saw a few and more at National Bookstore SM North EDSA branch. Sooo, if you wanna learn a few classical pieces (and if you hate dislike are not yet used to writing and/or reading notes) head on there.

A violinist friend also mentioned to look out for sheets at Sound Essentials. If you're a QC person, there's a branch over at SM North EDSA. Haven't gone there yet, though.

What have I been doing? Besides regurgitating my basic repertoire (which I haven't mastered yet), I'm playing substitute-kudyapi, an indigenous Filipino instrument. Here's a sampler from master Samaon Sulaiman, whom I had the privilege of watching and recording ... er, 3 years ago? He was an imam, GaMaBa awardee, master kudyapi player and, yes, town barber. He passed away 2 years ago, and I count myself lucky to have seen him play live.

Why "substitute-kudyapi?" I don't own one, though I would love to acquire one in the future. If and when I do, I think I should apprentice under an experienced player. The kudyapi isn't just an instrument -- it's a work of art and a cultural artifact. It's not something one just learns from YT. Looks easy, but it is so not. I don't think even experienced guitar soloists can play hammer-ons/pull-offs that fast, plus play percussion with the right hand. And I don't think guitarists can do it on their shoulders, hahahha!

Anyway, to make your own substitute-kudyapi, grab your acoustic/classical guitar and tune the 1st and 2nd strings to C. So you have EADGCC. You can try other combinations, as long as the sound comes out right in your ears (I think). Don't mind strings 3-6, and you won't need to muffle them. Stroke direction is upwards. I've seen a few play downwards, but the standard is upwards. I'm not really sure if this stroke direction's strictly the traditional way, but it makes sense since string 1 serves as melody and string 2 the drone. Keep this in mind: kudyapi is a 2-stringed drone and melody instrument. Only the lower string is fretted.

Some players use a finger pick, but long nails are okay. We had a few kudyapi in Kontra-Gapi's stockroom, so at least I had the chance to play the real thing. It was painful on the fingertips, and it was awkward to carry and hold. But it was simple and fun, and I didn't feel at all afraid to improvise a tune.