Regarding the second paragraph… I have no idea what the implications are as I have never played in the classical position. But I have used the traditional flamenco position, the Paco position, the Oscar Herrero position (with a foot stool), played lying down on my bed, on the sofa and so on… Principally I change these playing positions so alleviate muscle strain in long practice sessions.

Also… I’ve played classical on my own for a few years now, started doing the string walking and I noticed it totally screwed my picking precision in e.g Asturias that I was beginning to do quite well in when I went back to my classical posture (guitar between my legs). Does that mean I’d have to choose one or the other posture from now on?

I really admire your website about teaching flamenco, to be honest I envy flamenco guitarists who use i-m finger while playing scales in a relaxed manner. I do have a question, what do you mean by pushing the string down??? I play scales using i-m but i pluck it or strike it upward and I find it difficult to control while planting. Any help will do, thanks.

Sabicas says…

Arpeggios are commonly used, and the a-m-i combination, with or without the thumb is very common.

Whilst such technique is greatly admired, it is not a necessary condition for playing quality flamenco. Making the notes sound properly and giving every note it’s correct value makes music sound more musical that one thousand notes badly played. In my humble opinion.

One slightly related question – again from my observation as someone coming from a rock/jazz background – is ‘what are flamenco players doing when they’re just generally playing?’ Hmm, that’s not clear at all! What I mean is when I see videos of someone like Vicente Amigo, it seems to me that (apart from when he’s playing picado alzapua or rasgueado) a lot of the time he’s just playing notes with the fingers (NOT thumb) of his right hand in a curled position. I’m not quite able to make out whether he’s using m-i or m-i-a combinations. I guess this may be some kind of thumb-less arpeggio technique? sorry if I’m not clear.

“Where should my thumb be?”

If your thumb is attached to the 6th string (bordón) you will experience problems as you move up and down the strings because you hand will become progressively cramped or stretched. Nearly all guitarists advise that you move your right hand as a unit when playing picado across the strings. Allow your thumb to “ride up”, as you call it.

Regarding finger extension, that is,

“relaxed and curved or stiff and straight”

. The advice generally given is that your fingers should never be allowed to be stiff. Stiffness brings along tension, and tension is our enemy. Relaxed and curved would be my advice.

To get

“the distinctive picado staccato snappy sound”.

Practice, practice and practice and practice consistently over a long period of time. Speed bursts are very useful to achieve this aim. Most guitarists have a natural preference of either the i finger or the m finger. Practice imimi and mimim, but play using the sequence that is strongest for you.

Your second post shows good observation and good questioning ability. Picado is not just scale runs and picado is not only play apoyando, but sometimes also tirando. If you combine (tirando) picado and arpeggios, what might have appeared to be clear differences do seem to blur…