The hand position in the picado of Paco de Lucía, Manolo Sanlúcar, Pepe Habichuela, Vicente Amigo. The picado and rasgueado of Tomatito
Playing the picado as described in my book is admittedly a bit exaggerated, but it has a didactic background. Many guitarists who want to learn flamenco guitar come from classical guitar, or fingerstyle guitar. The applied attack (apoyando) is hardly used in fingerstyle. In classical guitar, the alternating stroke is often performed with the fingers extended. To get away from this posture, the impossible must be demanded in order to achieve the possible.
Of course, a repetition of the stroke is not possible at all without movement in the root joint. However, it is crucial to keep this movement as small as possible.
Let's compare it with "walking": moving the legs without flexion in the knee joint is a stiff movement, as if on stilts, and provokes stumbling. Walking without rotational movement in the hip joint does not allow progress.
As for my playing technique: I didn't start thinking about Paco de Lucía's picado until I was about 30 years old. Changing my technique after more than 10-15 years of intensive training with classical stroke was not easy. Unfortunately, I did not completely succeed in the change. But it is my duty to show it correctly to the learner.
Animation of Paco de Lucía's finger movement and hand position during picado.
Various clips of Paco de Lucía's Picado.
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