How Paco de Lucia sanded his fingernails + left hand proper length /Ruben Diaz flamenco guitar Spain

[@rubendiazguitar]

{My guitar article sites.google.com/view/new-definition-flamenco-guitar } Amazingly enough, Paco himself seemed also unfulfilled with traditional guitars as you can read from the following interview in 2013 (question n. 5, see this link goo.gl/8DSghE ) Interviewer- Which is your main guitar? A: Paco de Lucia: "...I have many different guitars and some are nice ones actually (I guess he meant his Santos, Barberos etc) but I always have this one with me, it's like living with a woman who you don't really like much. Because I really don't like so much this guitar, but I know how it will respond on stage so, there is a saying "best-known evil than an unknown good" and that applies here. In fact, at home this guitar I feel it is rough and hard to play. When I'm relaxed at my place I can't play this guitar at all... but when adrenaline is there (on the stage) I need a certain tension or pulsation which I have to get used to, and that's why I use this guitar to play on the stage. (in the following video you can also see Paco himself saying again a similar thing bit.ly/2YVx13Q ) Simplicio and his innovative idea (a separate double sound port for the top) It was around 1929 that our Stradivarius "The Stradivari of Spain" greatest Spanish luthier (born in Barcelona bit.ly/2LTS96A ) Mr. Francisco Simplicio 1874-1933. harrisguitarfoundation.org/francisco-simplicio/ He presented to the world nine very peculiar guitars, all of them of a new design with a top like this, andalusianguitars.com/FS1932-11-26.html shaping the way for a fully renovated kind of Spanish guitar never seen before. www.themomi.org/museum/mfa/popular_guitars/1929-30_F_Simplicio.html (Simplicio was also an expert in traditional guitar making and during his life. He produced about 340 instruments ) The universality of Simplicio's design applied to the newest flamenco guitars, as it has been skillfully explored from many angles since 2015 by the creative master luthiers of AG. andalusianguitars.com/aboutAG.html It represents a sublime redefinition of the modern flamenco guitar as an instrument, one that offers many tangible bonuses to anyone who plays a nylon string guitar, no matter which style he plays, as well as for the modern flamenco guitar player. bit.ly/2xLZf59 After about 18 years of intense collaboration with AG as a trusted advisor in their projects, (I still feel honored that Paco himself appointed me for that task) the truth is that AG has created a new concept of playability, envisioning a guitar with unparalleled exactness in tuning and design for the comfort of the player. In AG, the challenge during the research period was to create a guitar which could reduce the difficulties naturally there in every traditional guitar, inconsistencies which are too often taken for granted as "normal things". "Normal"? Yes, for those who don't know and choose the same of the same feel, every time - and typical design of traditional flamenco guitars. In my opinion the centered sound whole concept together with the "traditional guitar design" representative of the Madrid school of guitar making, bit.ly/2NVhnUP has many obsolete features which remained unchanged. Unchanged, certainly not to help the player, but to please the minds of those who belong to the "cult of the tradition," a cult of fellows sentimentally over attached to outdated guitar design, a design that has not been questioned or revisited for more than 100 years. 100+ years without even asking why is it so? Unfortunately, many flamenco players at present are so acclimatized to those archaic features there, that they can't see bit.ly/2LRn5EI how all those inadequacies inherent in the traditional design, may be obstacles to themselves to play efficiently and with ease. To me, the Madrid school of guitar making is totally out-of-date. Such guitars would be ok if one likes a masochistic feel of playing, forced to deal with constant problems and hindrances one after the other. As Paco use to say that some guys like to play just to be "beaten by their guitars". Therefore if anyone enjoys that, I have no problem with it, but this is not my case, how it could be? I consider myself fortunate to have listened to Paco's uncensored advice and many of his esoteric concepts about playability and guitars. He told me many things which he would never say publicly nor tell anyone else about. Admiring him, as I still do, I trusted his points of view and all that helped, directly and indirectly, to bring about this new concept of flamenco guitar making we have at present, with guitars like these bit.ly/2JyGLeW Performing with efficiency is already difficult sometimes, and, if the design of a guitar does not help the player, I can't see what the gain is? To me, performing in such a constricted space is like playing with a pair of handcuffs on, having less and fewer possibilities to succeed over difficult passages of music. bit.ly/2OatqOv And if that was not enough, one also has to deal with those innate handicaps regarding the sound delivery aspect which is very limited by the unidirectional way that traditional guitars can offer, is important to be aware of the fact that such restrictions will be there even in the best traditional flamenco guitars bit.ly/30yfCOQ On the other hand, Simplicio noticed several serious disadvantages in traditional sound hole placement, as he thought that it unavoidably weakens the guitar top in a very crucial area and also causes a huge reduction of the sound emitting surface on the top. (Huber, J.: The Development of the Modern Guitar, Westport, 1994, p.27) While an increased sound emitting surface would also improve the sound emitting platform in the bass range area (Stark, D.: Diplomarbeit - Entwurf und Bau einer Konzertgitarre mit doppelter Decke in Sandwichbauweise, Weimar, 2006, p.6) Influence on the sound: By omitting the centered sound hole and instead positioning it in a doubled manner, both sides of the fingerboard as you can see here, andalusianguitars.com/FS1929-21-23.html leads to an enlarged vibrating surface of the top (sometimes due to the ratio between top length or width and top thickness) and with that, it is possible to: A) Attain the same degree of flexibility of the top as in a traditional guitar, but getting a higher "mass" of the top, which also leads to a better sustain without any loss of "attack" and responsiveness. B) Keep a more flexible top than that of a traditional guitar, while maintaining the same mass of the top which is conducive to an increase in volume and responsiveness without any loss of sustain. C) Apart from those considerable advantages there, the Helmholtz frequency polettipiano.com/Pages/airresengpaul.html can also be significantly lowered, which in turn has an impact in the tonal character of the instrument. Same advantages are also there for: D) The AG Simplicio 1929 model andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-11.html as well as for its asymmetrical derivations: E) A Picasso cutaway design andalusianguitars.com/FS1929-36-14.html F) Double cutaway design andalusianguitars.com/FS1932-7-11.html G) The expanded treble sound hole andalusianguitars.com/FS1932-9-13.htm

[@karsten9895]

Wow - many thanks for all this fascinating information. Muchas gracias para todos esos informaciónes interesantes.

[@Larry30102]

I have been doing my nails like this the last year, with the exception of the thumb. I will definitely start doing this with the thumb! It’s made all the difference. Thank you!

[@rubendiazguitar]

Glad it was helpful!

[@apitapi]

That sandpaper technique is absolutely brilliant! Thanks a lot for sharing!

[@thomastepfer9861]

FINALLY after decades of playing git: THE TRUE and BEST teaching on how to use and treat my nails for best performance. THX so much!

[@rubendiazguitar]

You are right Thomas Paco's way it is the best way because it regards how the attack to the nail will be, same with the scale playing kzbin.info/www/bejne/pHzTo6CebaZ_pZI

[@thomastepfer9861]

@@rubendiazguitar thx for your reply. Btw, how did you get to know it? And: your play masterfully. Respect!

[@rubendiazguitar]

Yes Thomas, here rdiaz.org/rdfoto4.html I asked Paco and he told me how he does that

[@patrickdunavan9113]

Thank you for your helpful advice...I owe you a beer.

[@fusion-music]

You will be making my wife and two girls happy that I have to cut shorter some nails. The paper you are using is sometimes referred to as "wet&dry". It can be used either wet or dry. All sanding papers are graded. I would say a grade between 180 to 400 would be good for nails. I use a 400 which is finer than 180. (as the number goes up - the paper is finer for better finish). I look forward to meeting you and getting lessons Ruben.

[@rubendiazguitar]

+Fusion Music Yes dear S. I am also looking forward to met you soon! Best Regards Ruben

[@renato113]

Hey Ruben , I was waiting for this nail technique video for a long time. Thanks for sharing.

[@joseprincipe9268]

Ruben que talento

[@SoumyadiptaRay]

I play classical...but also follow the same rule of having shorter nails... and Paco to me is like God.... but sometimes I wonder, how Sabicas or Manitas de Plata or old school great players used to play their guitar with such longer nails.....

[@jak9990]

Your playstyle is so astonishing! Awesome

[@rubendiazguitar]

Hey, thanks!

[@Alex_Martz]

Which number of Grit do you use for the sandpaper?

[@rubendiazguitar]

Yes Alex see here www.pinrestore.com/Supplies.html Super Fine Sandpaper 2000 1500 1200 Ultra Fine Sandpaper 3000 & 2500

[@taylfut1]

I had never considered that the left hand fingernail aids in the firmness and strength of the fingertip. I don't recall ever hearing any guitarist or teacher talking about it. Maybe I wasn't paying attention...I believe this tip will help me alot with hammer ons and pull offs. Much thanks!

[@darragiraafet7754]

Thanks for the explanation I used to have longer nails now i shape them like you do. For picado it goes perfect but for arpegios and especially tremolo i am more comfortable with longer nails. What shall i do? Thanks

[@rubendiazguitar]

Depending on the technique you want to play there may be no problem with long nails, but to be really accurate advise for you I would need to see you playing so we can do half hour on Skype any time you like and that will give you perspective choice. Ruben

[@52804345]

Hi Maestro Diaz. What a beautiful guitar you're using on your nail filing demonstration.The rosette reminds me of when I was walking through the Alhambra. Very pretty.

[@rubendiazguitar]

+gabriel reyna Thanks Gabriel , that is a rosette like this one here andalusianguitars.com/SH1927-13-redcedar-cherryb-hayaf-ovangkol-natural-1.html andalusianguitars.com/SH1927-13-redcedar-cherryb-hayaf-ovangkol-natural-24.html Regards

[@RafaelAguirreGuitar]

Fantástico! Gracias por estos consejos! Un saludo desde Málaga!

[@rubendiazguitar]

+Rafael Aguirre Gracias a ti Rafael, tu tocas muy bien. Felicidades!

[@hichemmedjahed3685]

Do I have to adapt the shape of the nail if the guitar does not allow me to have a frontal angle of attack?

[@rubendiazguitar]

Here is complementary video about Nails length, the angle of attack and speed kzbin.info/www/bejne/hJe2qnaFe9WZa68

[@robertperry9636]

I have just discovered your great and very practical videos. Muchas gracias! Question: My nails tend to be brittle. Do you recommend any clear nail polish for nail protection?

[@rubendiazguitar]

Yes Robert, please check this video bit.ly/3mYx0cn and here is for you the nail hardener that we use, you can try it: www.nomiss.com/proddetail.php?prod=NailStrengthener01 + How to Use the Nail Hardener bit.ly/3hfGzCf

[@Rithwikthegreat]

How do you strenthen your nails?

[@andreamig1]

Gym

[@ceancagan]

If they split in half most of the time you might have lack of biotin vitamin.

[@Muddyriversfishing]

Is it possible to play flamenco guitar with Finger picks maybe just grow the thumb? I’m a fisherman and nails won’t last fakes are no good for me either.

[@rubendiazguitar]

Yes of course its possible Rivers and not only the actual size is almost nothing just see here bit.ly/2ULvboT

[@azzoughougha4732]

Perfecto maestro ❤️

[@c4arschfisch51]

Super video! Thx. I would like to know you string high.. at bridge and 12th fret..

[@yougouart9119]

The sound of the guitar is magical. I wonder how much does it cost. Your playing is great, too.

[@rubendiazguitar]

+Joseph Art Yes Joseph, it is not very expensive look here www.andalusianguitars.com/MB1945-24-spruce-birdseyeb-birdseyef-bahia-natural-14.html this other sounds great too www.andalusianguitars.com/SH1927-13-redcedar-cherryb-hayaf-ovangkol-natural-11.html but if you want a referral this is the one guitar which is better than Barbero 45 www.andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-13.html and here is why: 21 features out of the box on AG Simpliciokzbin.info/www/bejne/gpK9ZaCZe7CnjLMm Regards

[@davidutrading]

Hola por favor me podría decir que marca son las cuerdas 1 y 2 de nylon blancas. Llevo detrás de ellas un tiempo pero no se cuales son. Gracias y un saludo.

[@rubendiazguitar]

Aqui las tienes David esas son Aquila Alabastro Superior Tension Guitar Strings 20C www.stringsbymail.com/aquila-alabastro-superior-tension-guitar-strings-20c-full-set-2014.html y si estas en Europa quiza uses este enlace Alabastro Aquila www.aquilacorde.com/modern-instrument-sets/modern-instrument-products/715/alabastro/?lang=en Videos sobre Aquila Zaffiro Aquila Strings /Nylonplant 100% plant derivative kzbin.info/www/bejne/ZomzlaOBrNFsqdE Pearl Aquila Strings /Bionylon 67% plant derivative kzbin.info/www/bejne/eZzXqKFvf66cfdE Alabastro Aquila Italian Strings kzbin.info/www/bejne/monFZJhsd52qqac Alabastro Aquila Italian Strings kzbin.info/www/bejne/monFZJhsd52qqac?t=2m17s Saludos!

[@davidutrading]

Y no sabrás donde se pueden comprar en España?

[@rubendiazguitar]

Yo compro esas cuerdas con esos enlaces que te di David.

[@stemarzi]

gracias Ruben, very useful and interesting.

[@JohnSmith-gu8bb]

What's the name of that smooth song at 1:09 ? Nice and jazzy!

[@rubendiazguitar]

+John Smith (LiveBandClips) Thanks John, that is Pools by Don Grolnick kzbin.info/www/bejne/sHOke2uGbt5noqcm22s

[@MrUrech]

How does left hand nail length affect legato there? That was a weird notion to me. Thankyou for the video good sir i really appreciate the paper over the string idea

[@rubendiazguitar]

Here Dan kzbin.info/www/bejne/r2OTiISNdp5-f5I

[@rubendiazguitar]

Here is the sound you can get with that nail lenght kzbin.info/www/bejne/e4GmXn-qbc2esKc and posture (for those who are interested)

[@user-qm7nw7vd5s]

Just subscribed and liked. THANKS!

[@florycastro5899]

¡Bravo por tu labor pedagógica y nivel guitarristico ! Pero deberías poner SONEX o algún amortiguante acústico en las paredes , el rebote es terrible y el ataque y sonido es indefinido.

[@alexaraya2018]

cuando nos vas a ense~nar a enrollar la cuarta y la tercera como la tienes en el puente 6:40 ?

[@earfulaudio5199]

This makes good sense to me. Gracias

[@rubendiazguitar]

So glad!

[@lawcch]

hi Ruben where can I find Paco de Lucia guitar methods for his simplified scaling exercises? I love the horizontal and vertical ways to play the scales. It is very easy and practical. we guitarists can some times follow blindly the fingerings on the music sheet.

[@rubendiazguitar]

Yes Lawrence, here is something you can do kzbin.info/www/bejne/hovQhYeXo9F6ac0m42s Regards

[@sparrow7399]

where is that watch from?

[@57Raz]

Muy inteligente y servicial. Muchas Gracias.

[@hamad1979]

mr Rubben .. any link for the oil that Paco du lucia using ? for the right hand?

[@rubendiazguitar]

Here you go Hamad: CLASSIC ORGANIC LIP BALM - TANGERINE BREEZE www.badgerbalm.com/p-582.aspx?searchEngineName=classic-organic-lip-balm-tangerine-breeze Organic Badger Lip Balm for flamenco guitarists VIDEO kzbin.info/www/bejne/hoWbqqmGprSJns0m45s Paco using it kzbin.info/www/bejne/f6rJqpt3bNeVosU

[@hamad1979]

big thanks to you

[@DANDALLAROCHA]

Very nice method to improve the sound . Gracias Ruben .

[@ArtjomGolovko]

Flamenco beast!!! saludos desde Malaga!

[@JosesGarage101]

Que tipo de papel usas tu?

[@coastalphriends4913]

Gracias! Exactamente! Just what I was looking for!

[@bodhiciva]

Hi Ruben. Please help. I found that when i use short nails and push the string down while trying not to let the joints bend, my right hand fingertips start to become calloused. Is this supposed to happen? Are the right hand fingertips supposed to be calloused? It felt uncomfortable so lately i use longer nails and less flesh but watching your video makes me want to try shorter nails again.

[@rubendiazguitar]

+bodhiciva Hello Bodhiciva, excessive callouses in both hands may indicate bad technique kzbin.info/www/bejne/f6XWgGRsidt7atUm2s you can watch the next video kzbin.info/www/bejne/n4LKmZuvm51sbtUm44s but as you see the specific case has to be analyzed personally hence without seeing you playing its not possible to give any good assessment for you, regarding lenght here is another video which may help kzbin.info/www/bejne/hni0nJSaqbB8rqsm9s Regards

[@kanker5256]

actually, to get a ramp (straight plane for the nail, which is optimal mechanics as opposed to rounded corners etc), sandpaper is best at first. the straight plane of the file is necessary to finish the nail shape (not alter it)

[@benjiseran7625]

sry i little speak english, you say this is secret Paco de Lucia shape nails ? we need put Guitar on leg when shape ? or we can shape with normal position guitar ?

[@rubendiazguitar]

benji seran Hello Benji, I have seen Paco doing it both ways, so there is no hindrance to either one. (See sound obtained by this student here kzbin.info/www/bejne/g5SQppJqZtJ7g7s Regards

[@rubendiazguitar]

benji seran Yes Benji, that nail file is what everybody uses (including Paco) but that is just to give the rough length, and after that you go to the subtleties. Regards

[@benjiseran7625]

rubendiazguitar thank you ! yes i will use now ! i feel more good my nails you many andalusian guitar, i love this guitare but expensive for me :( you need make game for fans, like the best buleria and the winner win andalusian guitar ! :p :p :) :) :) thank you maestro for your vidéo and your help

[@rubendiazguitar]

benji seran Yes friend Benji, I play like 200 guitars but not all are mine, I only have like 10, the rest are guitars owned either by the school or by friends who come to visit me. There are AG which are not expensive, like this andalusianguitars.com/SH1927-9-spruce-cherryb-maplef-cherry-red-19.html Here is a video (What if I Can't Afford Yet a Good Flamenco Guitar...? kzbin.info/www/bejne/ZneZc5aJYpdsrNE )

[@marcobrocks1490]

Dear Ruben,many thanks for the very very helpful video...Greetings from north germany...

[@rubendiazguitar]

Thanks Marco. Have you seen this video ? kzbin.info/www/bejne/a4KbhKePedOIfdE

[@mannyr1709]

Tremendos consejos Ruben. Me corte las uñas y no mas ruidos extraños en la guitarra!!! Una pregunta: En el caso de Moraito Chico, el cual como tu sabes tenia las uñas bien largas, como explicas el fenomeno de su rasgueo (aunque el no ponia mucha armonia, mas bien ritmo)?

[@rubendiazguitar]

Si osmanysr todos los guitarristas de su generación usaban las uñas largas, Paco lo cambio todo. Saludos

[@shredgplayer5616]

Yo pensaba que las uñas debían ser largas para tener un volumen 'alto' al tocar, pero por lo visto no es cierto. Mañana me limo las uñas siguiendo tu consejo, y espero ya no se me trabe los dedos a la hora de hacer 'picados' xD. Un saludo.

[@remydufresne6576]

Best video ever on nails

[@rubendiazguitar]

Thanks Remy

[@remydufresne6576]

I started Flamenco Guitar 6 months ago and its the first video with this much information in it. Everything is covered from angles to lenght, angle of attack, technique. Truly a great video from an amazingly talented guitarist. I also follow your lessons on alzapua at the moment!

[@rubendiazguitar]

Thank Remy, if you want to learn faster you are welcome to start on Skype with me, here is a Skype lesson (Demo) kzbin.info/www/bejne/iWmkl5Wdr6ekjcU for you to see how it works. Regards

[@zayadali5816]

thanx you this is very helpul ..and what the name of this paper and what the number of it please ?

[@rubendiazguitar]

Just search any thin stuff and will be ok.

[@alfaraggi]

Ruben, maestro, vives en usa? Si es asi, en que parte? Muchas gracias

[@rubendiazguitar]

Vivo en mi pueblo Malaga, en Andalucia, y tu...?

[@alfaraggi]

+Ruben Diaz Flamenco Guitar Yo vivo en chile. Y me interesa mucho tu acercamiento a la tecnica y todos los detalles que resaltas. Voy a escribirte a tu correo un mensaje más extenso. Me interesaría estudiar una temporada contigo.

[@Guitarramistica]

Nice tips Ruben..

[@Kentokkil]

Great advice for shaping the nails! - THX and Cheers from Berlin.

[@rubendiazguitar]

Thanks Eisenkoch ! Here is what I do with those nails kzbin.info/www/bejne/qoXZaHqNpN-eoJY

[@jeffreyrwilliams9345]

Thank you!!!

[@rubendiazguitar]

Jeffrey R Williams You are welcome Jeffrey, take a look to this one as well ( angle of attack and posture kzbin.info/www/bejne/hJe2qnaFe9WZa68m22s ) Regards Ruben

Tocayo quien te hace esas bellezas de guitarra?

[@rubendiazguitar]

Aqui mi tocayo! andalusianguitars.com/SH1927-16-11.html

[@josuecoxco1026]

Quien te hace esas guitarras y cuánto salen?

[@rubendiazguitar]

Hay de todos los precios Josue andalusianguitars.com/MB1942-1-9.html

[@FlyingV344]

9.50 very good tip, which number of sandpaper do you use? 1000 i guess....

[@rubendiazguitar]

Yes us any fine sanding papers, I have 2 or 3 different levels (dont remember the numbers on it)

[@JosesGarage101]

ah otra cosa, cuando pones cuerdas nuevas veo que tu guitarra tiene 2 agujero por cada cuerda. Es algo innovación?

[@rubendiazguitar]

Claro Jose es este puente andalusianguitars.com/FS1932-2-shinglewood-hayab-%20cherryf-jacaranda-orangenat-6.html Esto del puente es un asunto importantisimo, mira kzbin.info/www/bejne/iH3NY5qwYsqAfa8m59s el video se titula " El emperador esta desnudo" Lo del papel de lijar esta aqui www.pinrestore.com/Supplies.html Super Fine Sandpaper 2000 1500 1200 Ultra Fine Sandpaper 3000 & 2500

[@JosesGarage101]

Ah :) Que pena que mi Conde no está preparada así y no es tan vieja, año 2001.....:(

[@rubendiazguitar]

Comment 3 (Vicente José Santiago Santiago) Sorry but I dont agree. I think its a lot easier. First of all I never heard anyone swearing Paco, or saying bullshit about him it might happen 30 years ago when people didnt know he was a genious. If someone still does it, he would be just ignorant. I dont know if you are saying this things about attaking someone writing online... I dont attak anyone, I just say what I think. if you feel that Im trying to attak you or people who dont speak spanish you are missunderstanding me. I also think that its not good to classify people just like that, everyone is different (fortunately), and those quinquilleros are just ignorant who dont have any clue about what flamenco is (either this or either they are just trying to make busines and fool people, in any case they are still ignorant). But there is a truth, does not matter how much you study bulerias at home, if you dont play bulerias in a juerga, and you accompany singers, and you live it from inside, you will notice it when this person is playing. if someone learns the language and understands these moment they will become better players. Of course you have to study as well, but to live it is also important. Answer 3 Jose please dont misunderstand me, I am not saying nor insinuating in any part of my answers that you are attacking anyone online. To conclude let me put three final points clear: 1) This channel is and will be in only in English (as Paco himself desired it to be) 2) Some of my best students do not speak Spanish nor do I accept that speaking Spanish or playing in Juergas is a requisite to learn anything of my method (although we also can do that kzbin.info/www/bejne/fn7cmaCtmpJmr5I ) 3) To witness that nobody is following the real Paco de Lucia's line or musical research is very easy, just see here what he said kzbin.info/www/bejne/gqenhZZnhptmjZo It's very significant that (publicly) Paco never gave any other advise besides this one (namely that one should explore the realm of improvisation) I believe those who are intelligent enough will follow it unhesitatingly. As far as those who do not listen this advise with their hearts they will remain endlessly doing the same of the same of the same... I mean playing in obsolete ways... As its happening to many players nowadays, headed by the so called "new flamenco stars" and their blind followers who lack proper discrimination, they are like parrots repeating what they possibly cant understand... see Parroting falsetas vs Creating music on the spot kzbin.info/www/bejne/nJqnapqeopqVl68m40s Today you can see that flamenco players do not have any real understanding about what tradition really means to begin with, what to speak of the vanguard works of Paco. See also "I prefer traditional flamenco" or "In flamenco not everything is about Paco de Lucia " Translation: I can't play Paco de Lucia and I have no idea about harmony kzbin.info/www/bejne/mKuQinV-l52Vj8U I believe: It goes beyond the mere question of who likes the new flamenco and who doesn't -- although, for sure, there's plenty of material to discuss at that level of the matter. If we’re talking about . . . how should I put it . . . the rupture of a tradition, then it might be useful to take a look at exactly what a tradition is. Etymologically, the word comes from the Latin “traditio”, which means a passing on, a releasing of something older to something newer, a handing over, a heritage, a continuing. Extradite, from the same root, means a bringing back. But “tradition” also signifies a giving up, as in a betrayal. In fact, tradition and betrayal have the same root. The ancients had a sense that these are children of the same mother, as it were . . . and that we can distinguish one from the other mainly through the values we project onto each. The "authentic" flamenco was ethnic in every sense of the word: very cultish, clannish, and restricted. These are negative words in our culture, but I’m just describing the music of an isolated and out-of-the-way population (and one that, moreover, had centuries-long history of been overrun by conquering armies). Flamenco was by gypsies, for gypsies, and about gypsies - appropriated earlier on, of course, from local forms and remade to their own rhythms. The principal thing to keep in mind, however, is that if old flamenco was clannish and culturally restricted it was at the same time decidedly bursting with life and juice. The Andalusian flamencos themselves were mostly unschooled and illiterate, and they would by modern standards have been considered to be urban principally insofar as they lived inside of buildings rather than in tents or caravans (although some did that too). Like any disadvantaged minority, the gypsies lived and survived in any way that they could: they were laborers, farmers, small tradesmen, butchers, bakers, horse-traders, fast-talkers and con-men, etc. Not a one of them went to college, got a degree, became an engineer or a doctor or a teacher, ran a successful business enterprise, had a successful military or legal or civil service career, became an artist or writer, was a city councilman or politico or a policeman or fireman or a craftsman or a manager . . . or a trained and skilled technician, or a photographer or draftsman or architect, or scientist, or anyone who was trusted with money, or had anything named after him, or was the subject of a biography. From the point of view of the mainstream society, these were the throw-aways. (NOTE: Under dictator Franco’s repression, the gitanos were prohibited from higher education, although they had to go to regular school like everyone else - even if they didn’t stay there long enough to learn much.) Toss in a lack of social services, electricity, running water, dental care and basic sanitation and you’ve pretty much got the picture: not unlike being a poor black in the historical American South. It’s not by accident that flamenco has been called gypsy Blues. And, like the best of the original Blues, flamenco occurred in private surroundings that included friends and neighbors . . . who ENJOYED IT DEEPLY. In many ways it was a "cosa nuestra" - "our thing" - and it was difficult for non-gypsies to gain access into these circles. No one could read music; it was all done by ear and by feel; and the guitar playing itself was perfectly adequate to supporting the feeling without calling attention to itself. I think this must have a lot to do with the “purity” that is spoken of (today the guitar is often The Star ) And to top it all off, flamenco would have been kept local and informal by the fact that it was almost impossible to make a living with it. Consequently, the "original" flamencos did not tour, travel, rehearse, record, or anything like that. They played for themselves because it pleased them, because those other outlets weren’t available to them, and because even if there had been there was no wider market or audience for this music. But in the 1930s (a time of great trouble in Spain) some of the more ambitious gypsies formed groups that traveled and put on shows in other cities and countries; these travelers gave the world its first taste of flamenco, and in doing so they created a wider audience. Flamenco on tour was also, necessarily, a somewhat artificial product that was quite at variance with the GREATLY IN-THE-MOMENT nature of the "old" stuff. I mean, let's face it: these were stage performances - an entirely new phenomenon with ticket sales, a starting time, a program of set pieces, flashy costumes, and a showy finale at the end (gasp!) In fact, this was the whole nine yards about change, right then and there: something had been created that entertained, that gave some people a livelihood and reputation that they wouldn't have had previously, and that was at the same time essentially a prostitution of the social function that that music had served before. Prostitution might be too harsh, actually; let’s instead say eclipsed, or outgrew, or aimed at a different target. The old flamenco wasn’t ever something that started at eight p.m. on Thursday the twenty-second and ended ninety minutes later. Incidentally, the “coming out” of flamenco began at about the same time that Andres Segovia was touring the world and for the first time exposing listeners to the classical guitar and its music. Hardly anyone would know what the classical guitar and its musical possibilities are today if it hadn’t been for him - as well as the invention of nylon, which eventually became the material of choice for guitar strings, by the DuPont company in 1930. In any event, Segovia took a germinal musical form and made it grow, very much in the same way that the first touring flamenco troupes gave their own germinal musical form wider exposure. So Sabicas took the idea of playing with solo guitar in Theaters from Andres Segovia But, getting back to Paco de Lucia: to speak just of one small part of his contributions we can say that he carried the thrust to make flamenco respectable two steps further than his predecessors had. First, he made flamenco respectable by insisting that it be included in and with more “formal” musical programs (i.e., that were more in line with the musical tastes of the middle class) and that the flamenco artists be paid the same as the other performers. This was unprecedented. Yet Paco managed it because he was well enough known by then to have such clout. And second, we can say that he made flamenco international by melding it with jazz. He created Fusion Flamenco: modern, flashy, dazzling and stylistically impeccable.

[@guillermosoto7221]

Rubén Díaz saludos desde México saludos también para Juan Rapose no se si siga viviendo en las islas Canarias recuerdo que tenías una hermana y vivían en frente del parque san Carlos en la colonia Tabacalera ciudad de México saludos pues

[@juanantonioraposocamacho4626]

Hola!! Soy Juan Antonio Raposo, no se quien eres pero me alegra leer tu saludo indirecto, que yo sin saber quién eres tú te agradezco mucho. Saludos desde Sanlucar de Barrameda!!!!

[@ghassanzabaneh74]

Thank you ❤

[@rubendiazguitar]

You're welcome 😊

[@rubendiazguitar]

Keep nails on left hand not to short and try playing in a maple fretboard. Not that I lacked experience playing on Ebony fretboards bit.ly/2ZEkSU9 (did that for 30 years) but in any case half decade ago I moved to Maple fretboards and I now could not come back to Ebony for playability it is far easier to play on Maple

[@jasontupas139]

Tnx my friend

[@rubendiazguitar]

Welcome

[@FlyingV344]

9.50 thats a very good tip thnx

[@rubendiazguitar]

Thanks, and here is the procedure for the thumb kzbin.info/www/bejne/d4DQZ2BrmMp_d68

[@FlyingV344]

yes, i saw the whole video thnx for the tips Ruben☼

[@FlyingV344]

kzbin.info/www/bejne/i2WqgWyvjcqUqKM have a nice evening♫

[@rubendiazguitar]

Wow, that video is amazing, thanks!

[@aureliom221]

Que lastima que yo no entiendo el Ingles ,me parecen tus clases muy buenas pero si las hubiese en Español me gustarian mucho mas un saludo maestro.

[@rubendiazguitar]

Hola Aurelio. Los vídeos que ves en ingles pertenecen a CFG quienes están difundiendo nuestra música mas allá de fronteras y precisamente para no discriminar (a la mayoría de la población mundial, misma que habla ingles) estos vídeos están en ingles, de cualquier manera siempre es posible ver los vídeos con alguien que te los traduzca ahí del tirón, aqui tienes el por que este canal esta en ingles kzbin.info/www/bejne/iaPaeqB4bJaSgK8m49s Saludos

[@kbkesq]

Very interesting and helpful!

[@OAmelinha]

Well yeah,Ruben Diaz does play the flamenco. No doubt. And he's good at it. But man... Paco was not just another good flamenco player. So when i come here and see a guy publishing his work with The picture of The Master i find myself thinking that is a bit too much!.. I mean, this is almost an heresy. You're NOT Paco, man! You wish!

[@rubendiazguitar]

In fact Joao I dont even know how come this googe search here goo.gl/TVhSwm shows me instead of him... dont know either how come students like this kzbin.info/www/bejne/kHqqoWOdj6mNpc0 will speak out Paco´s opinion about me so freely... let alone having 2 million minutes monthly of watch time on this channel kzbin.info/www/bejne/bX-toWd6frZ3Z6sm5s So thanks a lot for your wise comment.

[@matteonow3862]

Thank you, man! :-)

[@JoelSalazarM]

I'll start by saying that I am impressed by your playing. I am your fan and I might never be able to play as great as you do. Having said that, Paco de Lucia had a great speed and was great in many ways, but he didn't have a good tone. He even used to say he didn't care that much about quality of tone and mocked guitar players that did. So following his example on how to file nails does not guarantee anything. Also, using short nails was not his idea. Short nails have been used in classical guitar playing since Segovia, who used a combination of flesh and nails to create his legendary tone. Tone is actually the only thing Segovia was really great at (other than arranging). Also, the size of the nails depend on the anatomy of the tips of the fingers and the natural shape of the nails, that varies greatly from person to person. Placing the sand paper over the strings is not different than using a file in the right way and using sand paper to polish the nails later. Maybe You and Paco think it makes a difference because in Flamenco not many are aware of the proper position of the file against the nails, which is similar to the position of the nails against the strings. This has nothing to do with using strings and doing it that way will only take longer. Actually if you were to file the nails completely against the strings you would get a dark, lifeless tone, because you need a ramp to move the strings in the right direction. The purpose of that position of that file position is to reduce the curvature of the nail and make it flat on the angle you see when they are pointing straight in to your eyes. William Kanengiser has a very clear video explaining this here in KZbin. The end result is very similar to yours, is just the way to get there that changes.

[@rubendiazguitar]

Thanks for your comment Joel. (answer 1) From the classical guitar point of view you may be right, but in flamenco before Paco there were no short nails... and when I say before I mean traditional players and with traditional I mean Sabicas and before (as well as all so called ``new players, just see here kzbin.info/www/bejne/nmKsf3pvlr6fmtk Besides changing the nails and the postures etc Paco made significant contributions toward bringing what was formerly an ethnic music that sometimes toured into the international mainstream, and that this is a transformation that represents a bona-fide coming-of-age or coming-out party. It is an interesting question to grapple with, largely because it occurs at the crossroads of one of the oldest discussions in the history of civilization: namely, the nature of change and transformation. I think it goes beyond the mere question of who likes the new flamenco and who doesn't -- although, for sure, there's plenty of material to discuss at that level of the matter. If we’re talking about . . . how should I put it . . . the rupture of a tradition, then it might be useful to take a look at exactly what a tradition is. Etymologically, the word comes from the Latin “traditio”, which means a passing on, a releasing of something older to something newer, a handing over, a heritage, a continuing. Extradite, from the same root, means a bringing back. But “tradition” also signifies a giving up, as in a betrayal. In fact, tradition and betrayal have the same root. The ancients had a sense that these are children of the same mother, as it were . . . and that we can distinguish one from the other mainly through the values we project onto each. Anyway, to give you a better idea of exactly what Paco de Lucia did or didn’t do to or for flamenco, I should give you a bit of background. Paco grew up in a family that was steeped in flamenco and he most certainly was exposed to its rhythms even while still in his mother’s womb. Those rhythms are very special, by the way: they’re rooted in ancient Arabic, Roman, Jewish, and Andalusian folk cultures and they are absolutely unique, emphatic, expressive, complex, and compelling - and Paco mastered them brilliantly. He was a recognized talent at age 14 (he played guitar like an adult of many years’ experience!) and he would go on to become a giant in the emergent flamenco world. The "authentic" flamenco was ethnic in every sense of the word: very cultish, clannish, and restricted. These are negative words in our culture, but I’m just describing the music of an isolated and out-of-the-way population (and one that, moreover, had centuries-long history of been overrun by conquering armies). Flamenco was by gypsies, for gypsies, and about gypsies - appropriated earlier on, of course, from local forms and remade to their own rhythms. The principal thing to keep in mind, however, is that if old flamenco was clannish and culturally restricted it was at the same time decidedly bursting with life and juice.

[@rubendiazguitar]

(Answer 2) Then the Andalusian flamencos themselves were mostly unschooled and illiterate, and they would by modern standards have been considered to be urban principally insofar as they lived inside of buildings rather than in tents or caravans (although some did that too). Like any disadvantaged minority, the gypsies lived and survived in any way that they could: they were laborers, farmers, small tradesmen, butchers, bakers, horse-traders, fast-talkers and con-men, etc. Not a one of them went to college, got a degree, became an engineer or a doctor or a teacher, ran a successful business enterprise, had a successful military or legal or civil service career, became an artist or writer, was a city councilman or politico or a policeman or fireman or a craftsman or a manager . . . or a trained and skilled technician, or a photographer or draftsman or architect, or scientist, or anyone who was trusted with money, or had anything named after him, or was the subject of a biography. From the point of view of the mainstream society, these were the throw-aways. (NOTE: Under dictator Franco’s repression, the gitanos were prohibited from higher education, although they had to go to regular school like everyone else - even if they didn’t stay there long enough to learn much.) Toss in a lack of social services, electricity, running water, dental care and basic sanitation and you’ve pretty much got the picture: not unlike being a poor black in the historical American South. It’s not by accident that flamenco has been called gypsy Blues. And, like the best of the original Blues, flamenco occurred in private surroundings that included friends and neighbors . . . who ENJOYED IT DEEPLY. In many ways it was a "cosa nuestra" - "our thing" - and it was difficult for non-gypsies to gain access into these circles. I think that a large part of the POWER of traditional flamenco - the guitar parts of which were much simpler than the complexly contrapuntal and technically flashy examples one hears today - came expressly from the fact that it was personal. As I said, it was "by us, for us, and about us", and it participated in the community life of the participants. As such, the music and the song were essential: not over-complicated, but heartfelt and directly understood. No one could read music; it was all done by ear and by feel; and the guitar playing itself was perfectly adequate to supporting the feeling without calling attention to itself. I think this must have a lot to do with the “purity” that is spoken of (today the guitar is often The Star ) And to top it all off, flamenco would have been kept local and informal by the fact that it was almost impossible to make a living with it. Consequently, the "original" flamencos did not tour, travel, rehearse, record, or anything like that. They played for themselves because it pleased them, because those other outlets weren’t available to them, and because even if there had been there was no wider market or audience for this music. But in the 1930s (a time of great trouble in Spain) some of the more ambitious gypsies formed groups that traveled and put on shows in other cities and countries; these travelers gave the world its first taste of flamenco, and in doing so they created a wider audience. Flamenco on tour was also, necessarily, a somewhat artificial product that was quite at variance with the GREATLY IN-THE-MOMENT nature of the "old" stuff. I mean, let's face it: these were stage performances - an entirely new phenomenon with ticket sales, a starting time, a program of set pieces, flashy costumes, and a showy finale at the end (gasp!) In fact, this was the whole nine yards about change, right then and there: something had been created that entertained, that gave some people a livelihood and reputation that they wouldn't have had previously, and that was at the same time essentially a prostitution of the social function that that music had served before. Prostitution might be too harsh, actually; let’s instead say eclipsed, or outgrew, or aimed at a different target. The old flamenco wasn’t ever something that started at eight p.m. on Thursday the twenty-second and ended ninety minutes later. All this matters, because is the real context behind what I am showing in the video about nails. Have a nice week end!

[@JoelSalazarM]

Thank you for this very nice recap of the history of Flamenco and Paco's part in it. I have read about the subject extensively and I agree with you in everything you say about it. Paco has that in common with Segovia, they both took the guitar -on their respective styles- to the masses and made significant advances on technique. I am not a fan of either Segovia or Paco beacuse even though their contribution was extremely important to the guitar and they were both the best in at least some aspect (Paco's speed and Segovia's tone have no match) and I'll never have a quarter of their talent even if I am re-engineered genetically, they both lacked other characteristics that I personally (and subjectively) consider essential. My main point has nothing to do with Paco's quality as a performer, but about his method to get his nails filed, which is the subejct of your video. As I said, you can get exactly to the same result, but with much more control (and actually knowing what and why you are doing what your doing) by not putting the sand paper on the guitar string and simply filing your nails in a perpendicular position against the file while making sure that the nails look flat (the curvature is removed) when pointing the tips of your fingers directly to your eyes. And yes, using a very fine sand paper later... but at this point you don't need the strings or a particular position. You just need to polish the nails until they are glass like. Using this approach there is no enigma, no magic, you just know what you are doing and why... and the end result will be similar to the method you describe, but with more control. Have a nice weekend and thanks again.

[@rubendiazguitar]

(Answer 3) Hello Joel Paco's quality as a performer also depends on how did he sanded his nails, so what I am saying is in context of this video about nails. In my line of teaching (which is Paco de Lucia´s style) we trust in factual proven results, for instance this student here kzbin.info/www/bejne/g5SQppJqZtJ7g7s this is how he sounds by following Paco´s advice about nails. Now please with all due respect show me your personal experience with your method to sand nails not by writing about it in words, but rather by playing yourself I mean post me a prove in your comment just as I am proving about my results, therefore please proceed to post here a video of the factual results YOU got at playing by using your ways of sanding. If I can get better tone or if it makes me more efficient player then I am willing to change to your way, and also to recommend that way to my students. Fair enough...? Here is a video on the fact that one thing is to talk and write in comments , other is to actually PLAY kzbin.info/www/bejne/jZ-TaH1vn7iDqac Regards Ruben

[@rubendiazguitar]

By the way, I am not going to judge if you play faster than my student or otherwise, I just want to see your results by hearing your playing , which imo is the reality about that way of sanding nails.

[@gabrieltyrone]

Great lessons. I think Paco's right hand technique was superior because he played guitar many hours a day from CHILDHOOD, which caused his hands etc. to phisycally develop his natural technique as he grew up. Simple. Right?

[@rubendiazguitar]

Thanks for your comment Gabriel. Paco was born like that actually, by just mechanically repeating stuff even from childhood not everybody can get there technically. Also most important thing is how to practice (not so much what or for how long) hence not just any practice works... kzbin.info/www/bejne/mGSyiYdmiJurjaMm14s Regards

[@addisrock]

increíble súper básico y útil

[@rubendiazguitar]

Si Sr.Rangel, esto ayuda incluso para tocar ritmicas como esta kzbin.info/www/bejne/hJise4SHa7CSo5o

[@addisrock]

Ruben Diaz Flamenco Guitar increíble me has contestado cuando miraba otro de tus vídeos y en tiempo real me siento en un sueño Jajaja puedo preguntar e buscado en tus vídeos si tienes otros acerca de posición correcta basica de la mano y ángulo? hace corto tiempo que me tope con tu canal y vídeos y es un verdadero placer que me contestaras tan rápido mi pregunta hacerca de la posición correcta es por que normalmente cuando toco la posición de mi mano derecha de repente cambia inconscientemente y para cuando me doy cuenta ya estoy tocando de manera inconveniente y esto afecta tanto la proyección como la calidad de mi sonido mil gracias por tu respuesta.

[@rubendiazguitar]

Aqui hay varios videos que le serviran para la postura Analizando varios aspectos kzbin.info/www/bejne/n4LKmZuvm51sbtUm4s Picado posture applying multiple vectors of force kzbin.info/www/bejne/jZW2YZV4pbd3iNEm27s Main joint to play picado kzbin.info/www/bejne/m37VfZ6nnNCdd5Im11s "Picado" Any reason to rest thumb on 6th String ...? kzbin.info/www/bejne/oZmrhqF7aKiSn9Um54s Nails length affect picado posture, angle of attack and speed kzbin.info/www/bejne/hJe2qnaFe9WZa68 Saludos!

[@rubendiazguitar]

El angulo correcto tiene a que ver con las uñas Addis mira este video TRIGGER WARNING:If you think you know Picado please don't watch this video based on Paco de Lucia's Technique kzbin.info/www/bejne/pHzTo6CebaZ_pZI

[@addisrock]

Ruben Diaz Flamenco Guitar muchas gracias e visto todos tus vídeos donde menciona la importancia de las uñas para el ángulo correcto como se que no se el picado tomaré esta advertencia y veré este vídeo que me mandas también.

[@MrLatinguitar]

Best way !

[@amigomadiq2899]

you have very excellent skillset. I learned many from you. but I will criticise too. music is about sound not tempo..

[@rubendiazguitar]

Thanks for your comment: In flamenco Shaikh e v e r y t h i n g is about tempo and rhythm "In Flamenco no one counted beats to learn rhythm" Translation: I can't count and play. kzbin.info/www/bejne/g4G3ZpqCpc2Npqs and, in case you are thinking that you are giving me some "constructive criticism" then the next video is for you kzbin.info/www/bejne/r3m4ZKCnZ9R4eaM Regards

[@luisfernandez1000]

quiero esa guitarraaa 😍

[@christopheg200]

Merci!!!

[@rubendiazguitar]

Other compositions: 1 kzbin.info/www/bejne/q4Gqp3ZqZqiVl6M "En Ti Confío" Bulerias 2 kzbin.info/www/bejne/qoXZaHqNpN-eoJY "3 Gitanos" Buleria 3 kzbin.info/www/bejne/baiUpK2KZ6-Fnqc "Buleria Street" 4 kzbin.info/www/bejne/i6Owd5KOec2cgtk "Tú eres la estrella " 5 kzbin.info/www/bejne/a4KbhKePedOIfdE "Por Derecho" Buleria Calo

[@musicislife665]

Gracias

[@jesustenorioy]

Please, make a vido about guitar strings tension with guitar stings brands. Like and Suscription.

[@Moodymongul]

imho (without getting into custom string makers, just mass produced) - Newer, carbon fibre strings offer the highest tension (in any/all string gauges). They are the loudest and also very bright. This also means less bass in the wound strings. They will put a lot of stress on your guitar. And, from my experience, the higher tension makes the treble strings more likely to break under heavy playing (even the heavy gauge sets). Savarez (new crystal corum) are bright sounding, good volume and have decent/average tension (compared to other nylon string brands). D'addario Classic Nylon are quite cheap (budget) and have a decent sound. Less bright than Savarez crystal corum, a more rounded tone (with a little less volume). Slightly less tension in their string gauge sets, compared to the Savarez nylon sets. There is also a Sugar based classical guitar string. These get a 'catgut' feel and have a unique tone and projection. However, I find the string fibres (on the treble strings) can begin to unravel above the frets. I believe the frets cause the string fibres to unravel (after about 6 hours of playing/pressing the strings on the frets). These strings seemed to 'go' (lose their tone) faster than other string brands too. I feel the string/material science, is not quite there with these strings. But, they are fun to experiment with. fyi - If you tie the string around the bridge (standard method), and want a higher string tension (without changing string gauge). There is a trick, use string beads instead. That way, you get more string break angle. As the string, is not wrapping around the bridge. The tension change is noticable and worth doing if your strings slip around too much. Using beads, also helps if the saddle is low (and the string becomes too 'floppy'). The beads will increase the string angle and thus the strings tension Peace.

[@SorinPopovici985]

thanks

[@rubendiazguitar]

You're welcome Alex!

[@robertsmith4019]

FYI, Laurindo Almeida patented this method in 1969.

[@rubendiazguitar]

Oh Robert I dint know, could you please prove here that for us? Thanks for your participation! Ruben

[@rubendiazguitar]

Exact nail shape is a tricky thing, next you can see what I mean kzbin.info/www/bejne/hX-veWBphrh2nLs

[@hienbossa1065]

❤

[@rubendiazguitar]

Thanks Hien

[@rubendiazguitar]

Vicente José Santiago Santiago Oct 5, 2016 Comment 1 I understand your point, and i do speak english but i think it would be interesting for those people who want to learn flamenco to understand the language, the lirycs, the culture...Dont you think so? Saludos! Answer 1 : There are many people who speaks Spanish, thinking they understand Spanish culture the lyrics etc as you said and I have seen many of them end it up becoming just a kitsch flamenco quinquillero guy kzbin.info/www/bejne/rpzCq5aag76nfrMm22s that is a very superficial approach in my opinion, one can speak the language of a country and still miss the point… To learn music properly one only needs to learn music properly, and that can be in any language (most universal one is English of course) Comment 2 As you said his Kitsch flamenco quinquillero people you can find them in spain above all. I think it will be easier to become a kitsch quinquillero if you dont even know the language. Its just a busines. Its easier to be fool if you dont even speak, if you dont understand, dont you agree? As you said this is a very superficial approach, so if you want to learn something in depth you have to learn the language, sooner or later. Saludos! Answer 2 No Jose. In my experience I have only witnessed just the opposite. Those who became flamenco kitsch fellows are generally foreigners who want to speak Spanish, they try to artificially imitate every external thing from the so called “Spanish Culture” (like regional slang stuff and its pronunciation or accents ) so those who feel inferior about been non-Spanish and they try to compensate or alleviate this inferiority complex by learning Spanish those are the ones who become a flamenco pretender , while those who are my best students most of the time do not even speak Spanish like this Korean guy for example kzbin.info/www/bejne/iHOmaI2crrV0p6cm3s Ironically enough it’s a fact that are the “*Quinquilleros” the issue here (*Spanish term to indicate those who mimic the gypsies or those who artificially imitate people truly born inside the flamenco culture). The false pretenders are divided in two groups: 1) Those who are non-Spanish natives (this party is more laughable than the second one who are just a bunch of pitiful fellows) 2) This second group is crowed of bogus/mediocre players who are born in Spain but who are either openly or secretly against Paco de Lucia’s innovative ideas at heart, as they feel threatened by the radical changes he brought to this musical field, some of these people use to say that Paco de Lucía is the new orthodoxy, but I particularly think that those who say that, they do so as a way to justify their own mediocrity. Paco's works continues to be vanguard as none of the so called “present flamenco musicians” have being able to equal the complexity, mastery, deepness and beauty of Paco's music (you can see here www.rdiaz.org/rdpacoart2.html ) and HE Paco, wanted this channel to be in English. The first group really speaking don’t have an iota about flamenco guitar or flamenco culture but they think they know as they often speak Spanish or visit Spain (and as what they are: tour- tourists) they get often brained-washed and thoroughly cheated here by the second group namely the “quinquilleros” from Spain, who give them cheap diplomas and false praise in exchange for some money. It’s an interesting phenomena that those "quinquilleros" who are not born in Spain have a remarkable deeper degree of maliciousness toward those legitimate students of flamenco, as they constantly pose themselves like experts in the field, and just a prove of their ignorance and meaningless behavior is that they dare to criticize or lessen (either openly or under the table) even Paco de Lucia himself as well as those who really follow his spirit which unequivocally was to take this regionalist music -the flamenco- beyond the boring and predominant narrow-mindedness of those who believe that is nationality what qualifies a flamenco guitar player. In fact both "Quinquilleros" either those born outside of Spain as well as those who are Spanish natives have the very same “flamenco tourists mentality” and obviously they share many things in common. As both groups have indeed serious psychological problems they often try to make others wrong generally by speaking or writing lies online or by simply lessening them so that they can feel better about themselves, this in fact is an inherent quality of their “flamenco tourist mentality” cause they never miss the chance to show disdain and prejudice under the facade of either "polite neutral advise" this way they will try to invalidate the sincere efforts of those who are factually deriving some happiness out of their authentic approach specifically to the modern flamenco guitar path, in other words they are pleased to attack or make malicious remarks towards sincere non-Spanish students who do not speak Spanish generally, some of those students are hobby-players or aspirants to learn the modern flamenco guitar art like this student on the following video kzbin.info/www/bejne/b5mTiJloqs1_os0m58s

[@vip_flamenco_7693]

Я только так и точил, так как по другому не получается...УЖЕ лет пять как...

[@rubendiazguitar]

Да, вы должны увидеть, что если путь для ногтей полезно для вас, ногти очень личный, и это также зависит от того, какой конкретный метод у вас есть. Это важно, чтобы быть вдохновленным, чтобы узнать больше музыки и вдохновение приходит от тяжелой работы goo.gl/TVhSwm

[@vip_flamenco_7693]

Извините, а как обстоят дела с нотами ? очень сложно найти пьесы фламенко... ТЕОРИю

[@rubendiazguitar]

Вот почему у меня есть преподавательскую работу по Skype потому что нет книг, объясняющих хорошо фламенко теории Кроме того, не следуя методу и учитель правильно никто не может продвигаться быстро, все это должно быть изучено непосредственно от учителя kzbin.info/www/bejne/Y5DXf6mue6uNi8U это как в шахматах, даже Михаил Ботвинник, или Карпов был учитель

[@thejc3]

my nails dont grow so I cant use them.

[@rubendiazguitar]

Try this Jason kzbin.info/www/bejne/h2eUmoFoqJmfeZI

[@christophkotter7406]

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[@tonidecordobagalvezserena636]

disculpe señor Diaz pero el español "inculto" también tiene derecho de enterarse de sus lecciones.

[@rubendiazguitar]

Yo no le llamaria inculta a una persona que no habla ingles, mejor digamos no-bilingue. Para este objetivo (enterarse de lo que se habla en las clases) hay tres soluciones. 1) Que alguien que sepa ingles se lo traduzca del tiron ahi en vivo. 2) Pagar una clase por Skype en la que le explicare todo en Español. 3) Estudiar Ingles. Saludos

[@kellerdomi]

1:03 are you sick man? omfg

[@kdgr]

🎵👍

[@brandonhunter3855]

long nails aren't good? tell that to Peter Gergely and Gareth Evans, both KZbinrs btw 😊

[@rubendiazguitar]

Thanks for your comment Mr. Brandon I am just giving Paco de Lucia`s opinion on the subject Regards

[@Viajealduende]

Brandon Hunter, I've lived in the South of Spain, (Andalucia) for 20 years studying flamenco guitar made a documentary film on flamenco. All the great players do exactly as Ruben Diaz expains, the nails are not long, just long enough. It helps with speed and control with apergios, tremolos and picados plus varying sounds as to not always be clacking. These guys you refer to may play well with longer nails 'cause they learned that way and that's how they've become accustumbed to play. When I started filing my nails shorter it took a while to get used to but it was well worth it. If the greatest player of all time with the best technique, Paco de Lucia did it, its for something.

[@Viajealduende]

Brandon Hunter, I just watched Peter Gergely, he's a really good player, plays good music but it's not flamenco, it's another technique that doesn't require the speed or other acrobatic qualities of flamenco.

[@vip_flamenco_7693]

С Вашими видео !!!!!! ПОБЕДА!!! СПАСИБО,,,,, НИЗКИЙ ВАМ ПОКЛОН

[@tonidecordobagalvezserena636]

si hablaras español quizá te entendería más gente

[@rubendiazguitar]

Hablando Ingles tengo 90 alumnos 10,700 subscriptores y 1,800 videos en este canal... ya estoy mas que a tope. Quiza si usted estudia Ingles podria entender lo que estamos hablando aqui. (ademas de que en el mundo hay mas gente que habla Ingles que Español, varios millones mas) Paco no queria que este canal estuviese en Español. kzbin.info/www/bejne/iaPaeqB4bJaSgK8m49s Suerte!

[@rubendiazguitar]

There are many people who speaks Spanish, thinking they understand Spanish culture the lyrics etc as you said and I have seen many of them end it up becoming just a kitsch flamenco quinquillero guy kzbin.info/www/bejne/rpzCq5aag76nfrMm22s that is a very superficial approach in my opinion, one can speak the language of a country and still miss the point… To learn music properly one only needs to learn music properly, and that can be in any language (most universal one is English of course) Regards

[@rubendiazguitar]

No Jose. In my experience I have only witnessed just the opposite. Those who became flamenco kitsch fellows are generally foreigners who want to speak Spanish, they try to artificially imitate every external thing from the so called “Spanish Culture” (like regional slang stuff and its pronunciation or accents ) so those who feel inferior about been non-Spanish and they try to compensate or alleviate this inferiority complex by learning Spanish those are the ones who become a flamenco pretender , while those who are my best students most of the time do not even speak Spanish like this Korean guy for example kzbin.info/www/bejne/iHOmaI2crrV0p6cm3s Ironically enough it’s a fact that are the “*Quinquilleros” the issue here (*Spanish term to indicate those who mimic the gypsies or those who artificially imitate people truly born inside the flamenco culture). The false pretenders are divided in two groups: 1) Those who are non-spanish natives (this party is more laughable than the second one who are just a bunch of pitiful fellows) 2) This second group is crowed of bogus/mediocre players who are born in Spain but who are either openly or secretly against Paco de Lucia’s innovative ideas at heart, as they feel threatened by the radical changes he brought to this musical field, some of these people use to say that Paco de Lucía is the new orthodoxy, but I particularly think that those who say that, they do so as a way to justify their own mediocrity. Paco's works continues to be vanguard as none of the so called “present flamenco musicians” have being able to equal the complexity, mastery, deepness and beauty of Paco's music (you can see here www.rdiaz.org/rdpacoart2.html ) and HE Paco, wanted this channel to be in English. The first group really speaking don’t have an iota about flamenco guitar or flamenco culture but they think they know as they often speak Spanish or visit Spain (and as what they are: tour- tourists) they get often brained-washed and thoroughly cheated here by the second group namely the “quinquilleros” from Spain, who give them cheap diplomas and false praise in exchange for some money. It’s an interesting phenomena that those "quinquilleros" who are not born in Spain have a remarkable deeper degree of maliciousness toward those legitimate students of flamenco, as they constantly pose themselves like experts in the field, and just a prove of their ignorance and meaningless behavior is that they dare to criticize or lessen (either openly or under the table) even Paco de Lucia himself as well as those who really follow his spirit which unequivocally was to take this regionalist music -the flamenco- beyond the boring and predominant narrow-mindedness of those who believe that is nationality what qualifies a flamenco guitar player. In fact both "Quinquilleros" either those born outside of Spain as well as those who are Spanish natives have the very same “flamenco tourists mentality” and obviously they share many things in common. As both groups have indeed serious psychological problems they often try to make others wrong generally by speaking or writing lies online or by simply lessening them so that they can feel better about themselves, this in fact is an inherent quality of their “flamenco tourist mentality” cause they never miss the chance to show disdain and prejudice under the facade of either "polite neutral advise" this way they will try to invalidate the sincere efforts of those who are factually deriving some happiness out of their authentic approach specifically to the modern flamenco guitar path, in other words they are pleased to attack or make malicious remarks towards sincere non-Spanish students who do not speak Spanish generally, some of those students are hobby-players or aspirants to learn the modern flamenco guitar art like this student on the following video kzbin.info/www/bejne/b5mTiJloqs1_os0m58s Saludos!

[@rubendiazguitar]

Jose please dont misunderstand me, I am not saying nor insinuating in any part of my answers that you are attacking anyone online. To conclude let me put three final points clear: 1) This channel is and will be in only in English (as Paco himself desired it to be) 2) Some of my best students do not speak Spanish nor do I accept that speaking Spanish or playing in Juergas is a requisite to learn anything of my method (although we also can do that kzbin.info/www/bejne/fn7cmaCtmpJmr5I ) 3) To witness that nobody is following the real Paco de Lucia's line or musical research is very easy, just see here what he said kzbin.info/www/bejne/gqenhZZnhptmjZo It's very significant that (publicly) Paco never gave any other advise besides this one (namely that one should explore the realm of improvisation) I believe those who are intelligent enough will follow it unhesitatingly. As far as those who do not listen this advise with their hearts they will remain endlessly doing the same of the same of the same... I mean playing in obsolete ways... As its happening to many players nowadays, headed by the so called "new flamenco stars" and their blind followers who lack proper discrimination, they are like parrots repeating what they possibly cant understand... see Parroting falsetas vs Creating music on the spot kzbin.info/www/bejne/nJqnapqeopqVl68m40s Today you can see that flamenco players do not have any real understanding about what tradition really means to begin with, what to speak of the vanguard works of Paco. See also "I prefer traditional flamenco" or "In flamenco not everything is about Paco de Lucia " Translation: I can't play Paco de Lucia and I have no idea about harmony kzbin.info/www/bejne/mKuQinV-l52Vj8U I believe: It goes beyond the mere question of who likes the new flamenco and who doesn't -- although, for sure, there's plenty of material to discuss at that level of the matter. If we’re talking about . . . how should I put it . . . the rupture of a tradition, then it might be useful to take a look at exactly what a tradition is. Etymologically, the word comes from the Latin “traditio”, which means a passing on, a releasing of something older to something newer, a handing over, a heritage, a continuing. Extradite, from the same root, means a bringing back. But “tradition” also signifies a giving up, as in a betrayal. In fact, tradition and betrayal have the same root. The ancients had a sense that these are children of the same mother, as it were . . . and that we can distinguish one from the other mainly through the values we project onto each. The "authentic" flamenco was ethnic in every sense of the word: very cultish, clannish, and restricted. These are negative words in our culture, but I’m just describing the music of an isolated and out-of-the-way population (and one that, moreover, had centuries-long history of been overrun by conquering armies). Flamenco was by gypsies, for gypsies, and about gypsies - appropriated earlier on, of course, from local forms and remade to their own rhythms. The principal thing to keep in mind, however, is that if old flamenco was clannish and culturally restricted it was at the same time decidedly bursting with life and juice. The Andalusian flamencos themselves were mostly unschooled and illiterate, and they would by modern standards have been considered to be urban principally insofar as they lived inside of buildings rather than in tents or caravans (although some did that too). Like any disadvantaged minority, the gypsies lived and survived in any way that they could: they were laborers, farmers, small tradesmen, butchers, bakers, horse-traders, fast-talkers and con-men, etc. Not a one of them went to college, got a degree, became an engineer or a doctor or a teacher, ran a successful business enterprise, had a successful military or legal or civil service career, became an artist or writer, was a city councilman or politico or a policeman or fireman or a craftsman or a manager . . . or a trained and skilled technician, or a photographer or draftsman or architect, or scientist, or anyone who was trusted with money, or had anything named after him, or was the subject of a biography. From the point of view of the mainstream society, these were the throw-aways. (NOTE: Under dictator Franco’s repression, the gitanos were prohibited from higher education, although they had to go to regular school like everyone else - even if they didn’t stay there long enough to learn much.) Toss in a lack of social services, electricity, running water, dental care and basic sanitation and you’ve pretty much got the picture: not unlike being a poor black in the historical American South. It’s not by accident that flamenco has been called gypsy Blues. And, like the best of the original Blues, flamenco occurred in private surroundings that included friends and neighbors . . . who ENJOYED IT DEEPLY. In many ways it was a "cosa nuestra" - "our thing" - and it was difficult for non-gypsies to gain access into these circles. No one could read music; it was all done by ear and by feel; and the guitar playing itself was perfectly adequate to supporting the feeling without calling attention to itself. I think this must have a lot to do with the “purity” that is spoken of (today the guitar is often The Star ) And to top it all off, flamenco would have been kept local and informal by the fact that it was almost impossible to make a living with it. Consequently, the "original" flamencos did not tour, travel, rehearse, record, or anything like that. They played for themselves because it pleased them, because those other outlets weren’t available to them, and because even if there had been there was no wider market or audience for this music. But in the 1930s (a time of great trouble in Spain) some of the more ambitious gypsies formed groups that traveled and put on shows in other cities and countries; these travelers gave the world its first taste of flamenco, and in doing so they created a wider audience. Flamenco on tour was also, necessarily, a somewhat artificial product that was quite at variance with the GREATLY IN-THE-MOMENT nature of the "old" stuff. I mean, let's face it: these were stage performances - an entirely new phenomenon with ticket sales, a starting time, a program of set pieces, flashy costumes, and a showy finale at the end (gasp!) In fact, this was the whole nine yards about change, right then and there: something had been created that entertained, that gave some people a livelihood and reputation that they wouldn't have had previously, and that was at the same time essentially a prostitution of the social function that that music had served before. Prostitution might be too harsh, actually; let’s instead say eclipsed, or outgrew, or aimed at a different target. The old flamenco wasn’t ever something that started at eight p.m. on Thursday the twenty-second and ended ninety minutes later. Incidentally, the “coming out” of flamenco began at about the same time that Andres Segovia was touring the world and for the first time exposing listeners to the classical guitar and its music. Hardly anyone would know what the classical guitar and its musical possibilities are today if it hadn’t been for him - as well as the invention of nylon, which eventually became the material of choice for guitar strings, by the DuPont company in 1930. [A BRIEF BUT COOL HISTORICAL DETOUR: Nylon was in fact discovered accidentally; the DuPont people, at first, had no idea what to do with this new synthetic substance that could be stretched into very thin but very strong filaments; they tried various things (including nylon hosiery) and eventually discovered that they could market this product as fishing line. Interestingly, it was the fishermen/musicians of the seaports of Southern Spain (i.e., the flamencos) who first thought to put fishing line on their guitars: it was cheaper and lasted longer than the gut strings that had been the only option until then. So: we owe it to the flamencos - and, later, to the Augustine string company, which first popularized nylon strings through Andres Segovia’s endorsement of them - that the modern Spanish guitar has become established the extent that it has. Basically, nylon made playing the guitar affordable.] In any event, Segovia took a germinal musical form and made it grow, very much in the same way that the first touring flamenco troupes gave their own germinal musical form wider exposure. So Sabicas took the idea of playing with solo guitar in Theaters from Andres Segovia But, getting back to Paco de Lucia: to speak just of one small part of his contributions we can say that he carried the thrust to make flamenco respectable two steps further than his predecessors had. First, he made flamenco respectable by insisting that it be included in and with more “formal” musical programs (i.e., that were more in line with the musical tastes of the middle class) and that the flamenco artists be paid the same as the other performers. This was unprecedented. Yet Paco managed it because he was well enough known by then to have such clout. And second, we can say that he made flamenco international by melding it with jazz. He created Fusion Flamenco: modern, flashy, dazzling and stylistically impeccable.

[@wolandsmachine]

show off

[@rubendiazguitar]

Thanks! here you go goo.gl/TVhSwm

[@oli_dall-r4112]

Volandark Side jealous

[@rubendiazguitar]

I only try to help others Varg, but some people do not appreciate that... still look what happens here kzbin.info/www/bejne/hqmrnJKwh5yGkJY Happy new year!

[@oli_dall-r4112]

Ruben Diaz Flamenco Guitar thank you sir happy new year to you too

[@longinoojeda4825]

Pronunciación 💯% nativa XD

[@anthonymcneill55]

Is Ruben American Spanish ? He sounds American

[@rubendiazguitar]

@@anthonymcneill55 Thanks for the compliment Andy but I am from Malaga! kzbin.info/www/bejne/q4Gqp3ZqZqiVl6M Regards

[@anthonymcneill55]

@@rubendiazguitar apologies..

habla en español carajo

[@edreygonzalez247]

Gracias bro 💪🌩️🎸

[@kanker5256]

you can also, very easily, 'play' on the file. it gives the SAME result.

[@kanker5256]

i say this because I DONT LET SANDPAPER ANYWHERE NEAR the guitar front. too dangerous for my fears

[@thestreetman5284]

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